LEW ES HO USE COLL EC T ION

O F ANCIE NT G EM S Oxf ord University Press London Gla sgow

Toronto Cape

Humphrey Milf ord P ublisher to the

P R E FA C E

Mr Y rinci al on . . . p p debts are the one hand to E P Warren , for setting me the pleasant task of cataloguing his choice

his and splendid collection of ancient gems , and for placing time ,

his his scholarship , and experience at my disposal and on the

rtw an ler other to the late Professor Fu g , whose great history will

Mr A G ow u be found quoted on every page . . ndrew enco raged me , collaborated in part of the work , read the proofs , and made D u . r K many seful suggestions The late . L . W . ing wrote , and

D r u . Stephen Langdon revised , the acco nt of two Oriental stones

Mr was . A u with which I not competent to deal . rth r Smith

e enabled me , at the earliest possible moment , to study the colle

M s u tion of gems at the British u e m , and assisted me in several

' o to consult ther ways . Sir Arthur Evans allowed me him on

Mr . H u G . several q estions , . F ill on certain numismatical points ,

G Haverfield Professor Percy ardner on another , the late Professor

Mr A . H R . . on one or two oman matters , J owe on a geological one ,

r H u M G . and my colleag e , . . T utchinson , on horses and deer . Permission to publish illustrative pieces was kindly granted M r . A Mr . A by rthur Smith , by . C . F Bell of the shmolean , by

D r . . . C Mu u L D askey of the se m at Boston , and by Miss Richter

M Mu New C of the etropolitan seum in York by Lady ook , by

Southesk A u Mr Lord , and by Sir rth r Evans . . De Ridder not P R E F A C E o to L nly gave me leave publish a stone in the ouvre , but sent

his me own imprints of two gems in the D e Clercq collection . M r . . R . A P eady furnished me with imprints of the Lewes House M gems , and of British useum gems while the originals were

M h as inaccessible . y wife done me many services . ff To all these helpers I o er my sincere thanks .

The gems are arranged according to period , and , within the

as G period , chronologically far as possible . In the free reek

has period it been convenient to keep the animals together , and

- of in the G reco Roman the portraits . Some the finest gems have been reproduced twice : in their real size ; and with a magni fi t ca ion of two diameters . Some of the terms employed in describing beetles are taken

’ a d C i d rs from the frontispiece of Petrie s S cara bs n yl n e . C O N T E N T S

P AGE INTAGLIOS CRETAN AND MY CENEAN MESOPOTAMIAN PERSIAN

PHOENICIAN AND GREGG-PHOENICIAN GREEK ARCHAIC ETRUSCAN ARCHAIC GREEK FREE STY LE

ETRUSCAN ; FREE STY LE AND ITALIOTE GREEK HELLENISTIC

GRECO -ROMAN RENAISSANCE

CAMEOS

SUPPLE MENT INTAGLIOS

ADDENDA

INDEX

DESCRIPTION OF PLATES A AND B

A B B R E V I A T IO N S

THE groups of letter and numb er immediately f ollowing the catalogue h n mb e efer to t e arc es B . B . B k B o G G e e a Pro c o k . P . u r r hiv , la , n r l

o R . Re s e T . L . Tem orar L s B w h e e and visi nal ; , gi t r ; , p y i t ; u . it l tt r

mb er f er to the e b o of c e G eek art at the B nu a t it , xhi iti n an i nt r urlington

Fine Arts Club in 1904 .

' ' Bab elon Traite Traite des monnaies rec ues t r , g q e omaines .

B eschreibun Furtwan ler Konz liche M g g , g useen z u B erlin B eschreibung der eschnittenen S teine im Anti uarium g q .

Ca a lo ue Ar r Sm h A M . t B . Ca t s g thu it , alogue of the E ngraved Gem in

the B ri tish M useum.

° I o M Coins o nia 6s e . B . . B ritish f ( , ) Museum Catalogue of the Gr eek o s o I onia C in f ( ,

n . M in er Ri s H . s a B M . . Ca talo ue o the in er Rin s Greek F g g F ar h ll , g f F g g , , E truscan a nd Roman in the De artment o Anti ties B r t s M s ui i i h u eum. , , p f q ,

‘ ' Br -B r ckm n Denkmaler riechischer und r mischer S kul tur unn u a n g o p . B urlington Ca talogue B urlington Fine Arts Club E xhibition of Ancient

Greek Ar t 1 0 Illustra ted Ca talo ue . , 9 4 g

Furtwan ler Die antiken Gemmen Geschichte der S teinschneider F . g ,

l T fe vol . Erléiuterun en k n t kl ssischen Altertum vo . u s im a i , a ln ii , g

vol Ges ch c e . . iii , i ht

l r an r i R Furtwan e d Reichhold Griechisc e Vasenmale e . F . . g , h

R . The m c b a se . . d H . s e o e H F a , ntinu y u r

Furtwan ler B eschreibun s ee B eschreibun . g , g g

G dne T es Perc G d er The T es o Greek Coins . ar r , yp y ar n , yp f I t jahrbuch 7ahrbuch des Kaiserlich Deutschen Archaologischen nstitu s . h olo ischen I nstitutes jahreshef te jahreshef te des Oesterreichischen Arc a g .

He lenic S tudies . . ournal o l H . S j f A B B R E V I A T I O N S

S outhesk Catalogue Ca talogue of the Collection of Antique Gems f ormed Lad b a mes inth E arl o S outhesk K . T. edited b his dau hter y f , N f , , y g , y e Helena Carn gie.

- Vases in America B e z e Attic Red ured Vases in American M useums . a l y , fig

' V es An on o V es Es de o E studio de Ar ueolo a carta inesa iv t i iv y cu r , q gi g

’ z a la Necropoli de Ibi .

W ndham Cook Ca ta lo ue Cec H . Sm an C Am H o Cata y g il ith d . y utt n lo ue o the Anti uities Greek E truscan and Roman in the Collection g f q ( , , ) o the la te W ndham Fran s ci Cook E s re the em b M ss H on . f y , q . g s y i utt I N T A G L I O S

CRETAN AND MY CENEAN

I

0 I . A B R 1 0 . . . B . . 3 7, 7 . . 3 4 . Bu 3 5 Pl Bought in thens , 18 8 M 9 , and said to have come from ycenae .

Lenticular . Translucent sard .

G Tw o o All round line . lions biting a stag in the thr at . on three animals are standing their hind legs . The heads of the o o f o li ns fr ntal and their relegs stretched straight down . The ’ o out stag s head is pressed right back , and its tongue l lls of its

mouth its forelegs are very long . ’ A bull with its head pressed back like our stag s occurs on a lenticular red jasper from Rethym n os in the Evans collection o M I— the peri d is Late inoan II .

2

R I B 1 00 G 1 1 1 1 6 0 . . . 6 . . . P . 44 , 4 . . 9 Bu 47 Pl ought in 9 R D N . from Professor . . orton

L . enticular . Sard ’ o A lion attacking a bull . The lion s head is c ncealed by the ’ as tw o o o bull s such a design , where bodies are c nj ined in one F o head ( . , pl . 3 , a motive which , acc rding to Evans , is found

in Late Minoan I and is characteristic of Late Minoan II and II I .

3

A 1 0 . G 0 1 . 1 . P . 2 . . 3 , Pl Sent from thens , 9 4

M . Lenticular . urky sard

A lioness standing on a bull and tearing at its foreleg . The lioness is maned (see number her head is frontal and the f ace very narrow . 2 I N T A G L I O S

o A 1 . . 1 . 1 S omewhat similar st nes in thens , 3 37 (F iii , p 5 , fig 3 ) For the o o o o and 2 573 . antip dal p siti n , c mpare the lenticular

f a hio o . onyx rom the V p t mb (F pl 3 ,

4

L 1 . 1 . o M B u . . . G . . P 4 Pl Fr m ycenae Bought in E o S H . Paris . Formerly in the vans collecti n . Evans , 7 . . xxi ,

1 6 Von z ahrbuch . 60 p . 5 (enlarged drawing) ; Frit e , j , xviii , p ,

fig . 5 , after Evans .

- on z Rock crystal ring with engraving on the c vex elliptical be el . f o o . o o Tw gr und lines On either side a tree , a bull c uched o with head turned back behind each , an ther tree . n of n ot o o tw o o A example a unc mm n motive , animals gr uped symmetrically ab out a tree o r pillar s o on tw o gold rings f rom F M A e . . 2 . . 2 o ycenae in th ns (F iii , p 4 , and , pl 3 , 5) and an ther k th e B M B M Fin er Rin s 1 o . . . from En mi in ritish useum ( g g , pl , s ee E lo olles a hrb b c . h uc . . vans , cit . , and J , , xix , p num er 7) ~7 34 G r k of th e o on o A o o A ee example m tive a st ne in the rndt c llecti n , b B ei tschr t des M ii nchner Alter tumsoereins pu lished by ulle in Z if , 1 0 — Antike eschni ttene S teine 9 3 4 ( g , plate , number

5 PI G . . 1 . . 1 . o C 1 . 1 1 P 34 , 7 Fr m rete Bought in Paris , 9 . o v o io F rmerly in the E ans c llection . Prev usly in the possession of o Ch ers on es os the sch olmaster at in Crete . o Thin equic nvex cylinder , flattened at the ends ; as Furt B hr ib n esc e u . 6 1 wangler , g , p , number 5 a shape first found ,

to M M - c . 1 according Evans , in iddle inoan III ( 850 1 600 o Streaked chalced ny . cow A suckling and licking her calf . A common subject on Mycenean gems examples in Athens F f . . 1 0 o M Furtw an ler B eschrei ( , pl 3 , , r m ycenae) , in Berlin ( g , b n u , . 1 M Milnehener a hrbuch g pl , number in unich ( j , iv ,

. 2 B o o D ufii eld o E n ra ved Gems , . 0 pl in st n ( Osb rne , g , pl 2 , 2 ,

. 2 New o M e H , . S and pl in Y rk , in the British us um (7 . . ’ . 1 o Collection xvii , pl 3 , and fr m Crete ( d un arché ologue lora eur ex t . 2 p , pl , MESOPOTAMIAN The description of numbers 6 and 7 has been written by

D r L . K . . D r L W ing and revised by . Stephen angdon . 6

P . . 1 . G . o . 2 3 3 , 4 Pl F rmerly in the p ossession of the Re a o r v M . A . to . . R J mes Beck , acc rding P eady . A Chalcedony . mulet in the form of an oblong plaque , the o zo o upper end pierced h ri ntally and grooved below the b re . It on was evidently worn a string , and its upper end , above the o groove , may have been mounted in g ld . A Twin bearded ssyrian gods , wearing horned and spiked - e head dresses . They are represented in precisely the sam o o attitude , bearing a mace in the left hand as a symb l of p wer , and raising a double - headed axe in the right in an attitude of - o o th e defence . The twin g ds here represented are inv ked in t to incantation on the reverse , where hey are referred under Mashm ash - Mashtab b a M as hm as h od the title , , the twin g M as hm as h o or of Lu al irra + 4 , is an ide gram title g g , f o of N o o . a f rm ergal , god plagues and the l wer world The twin o Lu al irr a M es lam taé a o o f o g ds are g g and , pest g ds and min r rms d o on th e e of the great pest go Nergal . The incantati n amul t al irra Ma h a h H e o refers to Lug g or s m s only . b th sends pestilence and protects against it . The eight - line inscription on the reverse contains a Sumerian incantation 4 I N T A G L I O S

Lu al irra - od 2 P — O g g , twin g , ( ) defender ( ) , (3 4) who turnest of of e i . e . back the breast the wick d , (5) by ( in the name ) — M 6 8 . arduk , ( ) king of heaven and earth , may he be accursed ’ Ma d the evil go not come nigh me . Incantation . The sign ‘ incantation is placed at the end or beginning of magical o As is incantati ns intended to be recited . the amulet intended f or od inten general use against malign influences , the evil g is tion all not th e o y defined . On the other hand incantati n defines the twin deities engraved upon the obverse , thus ensuring and reinforcing their assistance .

A . ssyrian Second half of the seventh century . 7

G . P . 2 . 1 o 3 3 , 3 Pl . . F rmerly in the possession of the Re H v . o Mr . A . R . James Beck , acc rding to P . eady . W ayes S ea l C lind s n 6 1 A ia 0 o . 6 . ers o Western . 2 Ward , y f , p 7 , Ward states that the seal which he publishes is in the British Museum : o o o o but his is bvi usly identical with urs , and the pr bability is that Lo o o the nd n seal is a c py .

C - - . Neo o o halcedony Babyl nian cylinder seal , pierced l ngi tudin all y.

B o - earded and winged deity , wearing the h rned head dress , in o f two f o c n lict with bulls which he grasps by the releg . This design is o f very common occurrence on the seals of the later o peri ds . On early B abylonian seals the central figure represents the Babylonian national hero G ilgamesh : but th e motive w as o z B o e gradually conventi nali ed , and the abyl nian hero gives plac to od to A k a winged g , and later still the reigning chaemenian ing . On B abylonian seals the winged god is usually intended f or M A f r arduk ; on ssyrian seals o Ashur . The design of the A A present seal is purely ssyrian , and represents the god shur ;

- but the inscription is neo Babylonian .

Y wm d t e a fi lm I

As f or the owner of this seal (2 ) may his days (3 ) be long With the fullness of lif e (4) may he be satisfied Neo - o Babyl nian . Sixth century .

6 I N T A G L I O S

D The Treasure o the rew 8—6 1 C . alton , f , pp 5 ) the same in the o of D on o o Das Alexander chari t arius the P mpeian m saic (Winter , ik a s P om e i is o A mosa u . p j , pl The studded tire f und in ssyria

Nuoff er Der R ennwa en im A lter tum . as well ( , g , pl o conVen A similar scene , the king hunting the li n , in a less tion al on o o as of style , the chalced ny cylinder , kn wn the seal D M 1 F . . arius , in the British useum ( , pl o Pr bably early fifth century .

PHOENICIAN AND GRECO - PHOENICIAN

9

C . R . . PI 2 . 447 . From the Bruschi collection at orneto A — F 1 1 6 . nna li 1 H . G 2 . 2 88 . 2 , 5 , pl , ; , pl , - lob ulated o Scarab in golden band setting , with g wires al ng

the sides of the beetle . Sard .

e No . A The beetle summary . Slightly ridg d . winglets long tlre f b o . lower edge the thorax , two lines A line etween the l tra e y . L o e - ine b rder . A king , b arded and hook nosed , holding a lion by the mane and brandishing a mace he wears a helmet and o o of b - o e a l ng gown . In fr nt him , a naked man , bald and snu n s d , f : e . A o crawls away up a hill bove , a flying bird prey b hind ,

- o k o . a cart uche with irregular mar ings . The hill is cr ss hatched A o o of o o f pparently a c ntaminati n two m tives , the slaughter a lion

of Furtw an ler . 1 0 . and the slaughter an enemy see g , iii , p 9 6 F . on o . Similar cartouches other Ph enician scarabs ( , pl 7 , 5 ,

ha elle . . 1 8 B ab elon Collection P a uver t de la and pl 5 , , C p , pl 4 , 2 o o n ot Fu rtw an ler That the bject is a cart uche and , as g calls o b Mo o it , a shield , is sh wn y the sard scarab formerly in the rris n o o M riso a o or n tal ue . 1 c llecti n ( C g , pl , 34) where it is inscribed o with mock hier glyphics .

Perhaps early sixth century .

R . o e o . . PI o 445 . 2 . Fr m the Bruschi collection at C rn t F . 6 , pl . 4 , 4 .

Scarab . Translucent sard . P H O E N I C IA N A N D G RE C O - P H O E N I C I A N 7 C The beetle rough . arinated falling away at the rump .

No o e . e n ot winglets or vertical b rd r The lytra separated . lion sk n H o . i atched b rder Bes , clad in a , running with a Wild goat in either hand . The same subject on a scarab of similar style (imprint in Cades among the Persian subjects and on a green jasper scarab in the British Museum (number i M d sixth century .

’ z L o . V a necr . 2 oli de Ibiz a 1 Pl From Ivi a ( ives , p , p . 7 , number Formerly in the Kennedy collection (sale cata ' M 1 1 8 2 V . z 1 2 1 0 . logue , arch 9 , number 3 , ives , pl 5 , Pere ’ r e 8 C o Ibiz a a ueol i ca . 8 2 . abrer , q g , p , number

G . Scarab . reen jasper

The beetle careful . No winglets or vertical border the o on of plinth large . The stone is sco ped away either side the 1 2 1 tw o rump , as in numbers and 3 , and in scarabs now in

f M L . o o V . 2 2 2 2 the collecti n iss amb ( ives , pl 5 , and pl 3 ,

A hatched border along the lower edge of the thorax . Between the elytra a line two short lines start f rom this line near the top of o and form a triangle with the border the th rax .

H o . o atched b rder A winged and bearded m nster , composed ’ of lion s body and legs and human b ody and arms the hands

raised in adoration . The wings very slightly recurved , as in the

o F . 6 Phoenician scarab in Lond n , , pl . 4 , 3 an ancient Phoenician s ee Der Orient und die riih riechische K unst rendering ( Poulsen , f g , i o filleted 1 a ss m . p . 5 and p ) The l ng hair is and gathered up

b e . ehind the lower edge pellet d , the rest hatched o of o o z The same positi n the hands on an ther scarab fr m Ivi a , ’

M L o V . 2 2 1 o now in iss amb s c llection ( ives , pl 4 , ) the p sture

o V . 2 2 . of the w rshipper ( ives , pl 4 , ) is transferred to the deity

Early fifth century .

2 . La é . z i d biz a V necr ol e I . Pl From Ivi a ( ives , p , p 75 , number Formerly in the Kennedy collection (sale catalogue 2 1 V 1 - 2 . 2 2 . z C Ibiz a ar ueo number , ives , pl 5 , Pere abrero , q lo i a c 2 8 . g , p . , number 5 G Scarab . reen jasper . 8 I N T A G L I O S

s 1 1 1 The beetle a in numbers and 3 , except that the border below the thorax consists of tw o lines . H o H atched border . ead of a y uth wearing a crested helmet ’ ’ o o of a s ilen s which is c mp unded head , in front , and a lion s head o behind . The hair falls in a thick mat behind , with r ws , separated ’ his by grooves , of short striations . The silen has horse s ears and G - o beard is hatched his head is of the usual reco Ph enician type . F 1 8 o A late Etruscan stone ( . , pl . , 45) is engraved with a y uth ’ ’ oun ded of ful head wearing a cap com a silen s head and a lion s . H of elmets and caps simi ar make are found , no doubt under on o G o - R Carthaginian influence , late Itali te and on rec oman a l B sch ib F Furtw n er e re n . . 2 u stones ( . , pl 9 , 75 and 77 g , g , pl 57 , 780 and A helmet with the upper part in the form of ’ a s ifizn s face is worn by a warrior on a late Etruscan bronz e cista M 6 M H andbook o Archaeolo in the British useum (74 urray , f gy ,

1 6 o o . p . 3 this detail indistinct in the repr ducti n) The helmet M F o n G . 6 6 an archaic reek scarab in the British useum ( , pl . , 5 ) is stated by Fu rtw éingler to have a mask of s ilen es qu e type attached behind ; but the mask belongs to the aegis and not to the helmet . b of Our head is terminated below the neck y a row pellets . This is a very common termination f or heads and foreparts on G o on archaic reek c ins , but it is less common gems examples

G o F . 8 1 on archaic reek scarabs in C penhagen ( , pl . , 7 ) and in F 6 on G - o z Paris ( . , pl . , and a reco Ph enician scarab from Ivi a - o V 6 with a bearded head in three quarter pr file ( ives , pl . 2 , o row of e o b th e In the free peri d , the p llets is usted y curvilinear cut . The hair is treated in the same manner on a green jasper scarab from Tharros in the British Museum with a youthful head B M a 1 6 F lo e . W . . ta u . . earing a helmet ( C g , pl C , 7 , pl 7 , o f 1 The style is alm st as G reek as that o number 3 .

Beginning of the fifth century .

1 3

La ne ro 2 . z V c oli Pl . , and , enlarged , Pl 9 . From Ivi a ( ives , p

de Ibiz a . 1 K , p 7 number 3 Formerly in the ennedy collection

- 2 1 2 V . 2 6 z C o (sale catalogue number , ives , pl 3 , Pere abrer , ’ lo ica Ibiz a ar ueo . 8 1 2 . q g , p , number G r s . Sca ab . reen ja per P H O E N I C I A N A N D G R E C O - P H O E N I C I A N 9

1 1 The beetle as in number . e o o on Hatch d b rder . A naked youth running with a c ck his b ow left arm and a and arrows in his right hand . The hair o hatched , save ver the forehead and where it is gathered up tw o oo o i n behind fillet , with l se ends in fr nt , each terminating th e k of th e a tiny pellet , and like at the back . The inner mar ing o o b dy precise and hard the arch of the ribs begins low d wn , and contains five bosses representing the prominences of the

rectus abdominis . o Th arros For the style , compare the green jasper scarab , fr m , F o o z . 1 in the museum at Cagliari , , pl . 5 , 47 , and an ther fr m Ivi a A 1 i s V . . 2 (Pl , 3 ives , pl 3 , 7) in both the arch of the ribs low

as in ours .

- The style is pure G reek of the G reco Phoenician class . of Beginning the fifth century .

bis 1 3 .

’

biz a . 1 . 2 . o z V La necro oli de I Pl Fr m Ivi a ( ives , p , p 7 , number Formerly in the Kennedy collection (sale catalogue 1 1 z - C Ibiz a ar ueo 2 V . 2 number 3 , ives , pl 3 , 7 Pere abrero , q ’ lo ica 8 . 2 g , p , number 3 . G Scarab . reen jasper .

1 1 1 The beetle as in numbers and 3 , but the rump only slightly flattened . H H n atched border . erakles holding his club i one hand and b ow N a with two arrows in the other . aked , beardless the hair short and pelleted . Mo re careful than the Herakles on the green jasper scarab from Th rr a os B a ta lo ue . M . M . C in the British useum ( g , pl C , but greatly inferio r to numbers 1 2 and 1 3 in the present collection .

Beginning of the fifth century . 1 0 I N T A G L I O S GREEK ARCHAI C 1 4 6 6 PI. o o . F . . . R . 2 . . 43 9 F und at C rneto , pl , 4 k B . Scarab . anded agate , blac , white , and grey

o . V The beetle very delicately wr ught . Carinated ertical i i o Re ur n n lets . e hatched b order . c v g w g Hatch d b o rder right r und fler ed H e o e o o . o the th rax . The clypeus g atched b rd r r und the edg f o on o . the plates , and als the legs Between the elytra , three lines to from each of the outer o nes a small spiral springs near the p . o Pellet border , continued by a simple line bel w the ground

- G o o o . band . r und band diag nally hatched and c unter hatched f or o H lion skin The Struggle the Trip d . erakles , wearing the , o his f h lds the tripod in le t hand and his club in his right , and looks back on Ap ollo who is pursuing him and rasping the f g o . A o o o o trip d p ll has plain l ng hair and a kind ch amys . The of o o k : o knees b th figures are str ngly mar ed the t es , except ’ on A o o f oo e p ll s right t , are r ndered by pellets . The genitals are n ot of indicated . The legs the tripod straddle . Th e k o o to o . sna e may be Pyth n , intr duced l cate the action Furtw an ler o o two on E g , h wever , c mpares the snakes the truscan o o M o eo e New o chari t fr m ntel n in Y rk . Pure G reek scarabs with a vertical b order are rare : later e o M e o o F 6 2 B ur exampl s in the St ry ask lyne c llecti n ( . , pl . , 5 lin tou a ta lo ue 1 08 B M g C g , pl . , O and in the ritish useum F I . . t o ou r o ter ( , pl 9 , is p ssible that st ne , like number 3 5 , o b e E k sh uld called truscan rather than G ree . Mid sixth century . I S G . . 1 . 0 6 1 0 2 P o . . I . 2 . 2 P 57 , Bu 4 . B ught in Paris , 9 ’ ’ Gemmes et meda illes a nti ues nente d hb t o 2 —2 6 mars q , l el Drou t 4 1 02 1 1 8 9 , pl . , fig . (number

Scarab . Jasper , black and red .

. No The beetle moderately careful Carinated . vertical o : n o H . o o b rder winglets atched b rder right round the th rax . are n ot The elytra separated , but there is a small palmette on the - o o elytra half way al ng the thoracic b rder . H o atched b rder . A silen and a nymph dancing in the field , ’ o a wreath . The silen has h rse s hooves his head is frontal he G R E E K : A R C H A I C 1 1

an d o holds lyre plectr n . The knees and the mus cles of th e lower e l g are faintly indicated . A vertical depression near the middle of the forehead (see number The beard hatched . The o o on th e nymph wears a chit n and a wrap l ng hair , plain skull , in straight strands behind . It is suggested in the sale catalogue s he o ob that holds castanets , but m re pr ably her hands are empty , with the thumb separate from the rest of the fingers and these o o o c mbined , in early archaic fashi n , int a single curved line : o of D on Lo o F l . . 6 c mpare the hands eianeira the nd n scarab , , p , 3 9 .

Mid sixth century .

G . P . . 2 . 2 . o 34 , 3 Pl F rmerly in the B oulton collection o (sale catal gue number 4 ,

Scarab . Translucent sard .

o 0 The beetle r ugh . Slightly ridged . N vertical border n o o f . o o o e winglets Two lines al ng the l wer edge the th rax . B tween e the elytra , a line which nds above in a triangle inscribed with to on of a line parallel e the sides . H . o o o atched border Silen running with inoch e and kanthar s . ’ H o n o o e orse s ho ves , tail , head fr ntal , beard hatched . A v rtical of o L groove in the middle the f rehead . ittle inner marking : e - o n e between ch st and hip merely three streak like prominences , above the other . o on o o The same subject , but the head in pr file , a c ntemp rary 8 0 F M F . . 6 2 . . scarab in the British useum ( , pl , a replica , , pl 3 , on o o A nna li 1 8 —H 8 . G and a scarab in C rnet ( , 5 , pl , 3 3 o o o F similar , but apparently without the in ch e , . , pl . 7 , The ’ is o to o of o n silen s tail mitted , prevent vercrowding the design , the Lo ndon scarab and the replica on a Berlin scarab which is F 8 o o f e o to . . 2 allied them ( , pl , ) on the C rnet scarab and its ll w - B F on o o . 8 and a rock crystal scarab id fr m Cyprus in erlin ( . , pl , on o The vertical groove the f rehead , separating the temples , 8 1 b F . . reappears in our number 5 , in the scara s , pl , 3 3 and th e f 8 o F . 8 6 1 . 1 0 pl . , 4 , and als in . , pl , and pl 5 , 7 , and in relie silen on the back of the pseudo - scarab signed b y Syries in th e M of o th e British useum . The same rendering the kanthar s in

F . 8 0 o F 8 1 . 2 Berlin scarab id ( . , pl . , ) less summary in , pl , F 8 1 of is o . . the kind vessel meant sh wn by the scarab , pl , 9 , i o B eu n ot I on des . formerly in the g , now in the collecti n 12 I N T A G L I O S

In style our stone most resembles the Berlin scaraboid (F

8 1 F . . 8 . pl . , ) and the scarab , pl , 3 3

Mid sixth century . I 7

A 0 1 I . 1 1 88 . P . 2 G . P . , 479 Bought in thens , 9 Formerly in Imh oof— K Tier und the Postolakka collection . Blumer and eller , d dr n iii 1 0 l 6 1 an aw . 2 P a nz enbilder . . fl , pl F , p 3 , , , , , p ; Perrot , ’ ’ 8 Fu rtw an ler s 6 . 2 . r t . 2 Histoire de l A , ix , p , fig , after g drawing u Scarab . Sardonyx , discolo red , now dark brown with creamy

yellow patches .

C . No . The beetle summary . arinated vertical border The o A o th e o th e winglets rendered by tw strokes . l ng l wer edge of

- o V . thorax , a hatched b rder with a shaped dip in the middle

The elytra n ot separated . z Cab le border . A silen bestriding a sphinx and sei ing her ’ oo o by the hair . The silen has horse s h ves ; head fr ntal ; hair o and beard hatched , tail striated between chest and hip , f ur — o on e o o e semi elliptical pr minences , ab ve the th r . The sphinx W o f or is ingless , and very l ng in the body , both no doubt the

sake of the design hair hatched . e o If the ston were later , the representati n might be interpreted o o f o as a par dy Oedipus c nsulting the Sphinx , like the pictures i s ii o I C ru s u s Fe tschrz t r Overbeck . 1 0 on S uth talian vases ( , f f , p 3 , 3

H Philolo us . 1 o artwig , g , lvi , pl ) and , as early as the sec nd third of e o n A o o B e Archdolo ischer the fifth c ntury , an ttic oin ch e in rlin ( g 1 P i s i e 1 1 1 h lolo . b t h e s A nz e r 8 . u u t g , 9 , p 9 g , lvi , p 4) in ixth e to Fu rtw an ler century it is perhaps pr ferable assume , with g , o n ot o o e o a parallel st ry it is imp ssible , h w ver , that the repr s en tation n ot f on was ounded any myth , the design being a mere o o of tw o f o c ntaminati n av urite figures . A comp osition which bears a fundamental resemblance to ours is the group of a naked youth attacking a naked woman on o New k a sard , presumably a cut scarab , fr m Cyprus in Yor C es n ola t a s o the e A 1 A l C sno a o le tion 8 1 . l l c . 2 ( , f C , iii , pl , 3 Pl , f o k e o e . New o o r m a new imprint) The Y r st n , th ugh l ss careful r s o o n ot o than ou s , is cl se in style that it might unreas nably be ascribed to th e same artist common to b oth the modelling of o of breast and b dy , the shape the thigh , the female head and

hair , the neglected feet .

14 I N T A G L I O S

o two The chest frontal , all below in pr file four bosses , two and , o for the prominences of the rectus abd minis .

- The head wing , which is attached immediately to the head n ot to f or H o and a cap , might speak ermes , wh se head is winged — 00 B . C G A . V on an ttic bell krater , of about 4 , in the illa iulia

R . o n ot (F . , pl . and occasionally later the lyre also w uld b e inappropriate : but the object in the left hand is probably its a fillet rather than a plectron with cord , and lyre and head o s ee fillet p int to Eros on the early representation of this god , number 3 3 .

Second half of the sixth century .

B u . 0 1 R . . o . . 2 . . 444 5 Pl , and , enlarged , Pl 9 Fr m the B o o . F . 6 ruschi collecti n at Cornet , pl . , 47 .

Scarab . Translucent sard .

e o No . The beetl very delicately wr ught . vertical border R o of Winglets , recurved . ound the sides and the l wer edge the o thorax , a hatched border . The head , clypeus , and plates cr ss

. o tw o o hatched On the th rax , spirals springing from the l wer o tw o part of the hatched b rder . Between the elytra , lines termi nating above in a triangle inscribed with a horizontal line . The outer line of each elytrum ends in a Spiral near the rump . ’ o H f o o Pellet b rder . erakles leading on e o Di medes h rses his ’ b ow - o o e H e o o case hangs fr m the b rd r . h lds the h rse s bridle with b f lion skin his right hand and his clu in his le t elbow , knees , o o tw o and calves carefully rendered f ur b sses , ranged and two , ’ o n o o o o the body bel w the chest . The h rse s m uth is wide pen , row of in dicated an d o o with the upper teeth , the skin ab ut the m uth o of is creased acc rdingly . The mane striated the forepart it

o o . distinguished fr m the rest , as if bl wn back by the wind The o tail striated , with lo se ends rendered by diagonal lines against the background . The headpiece of the bridlerendered by small pellets . f e on of The same subject , di f rently treated , a sard scarab ,

o F . 8 M . s mewhat later style , in the British useum ( , pl , Similar compositions to ours on a chalcedony scarab oid in the B M F b ritish useum ( . , pl . 9 , on a sard scarab , closely resem ling of o o on o of the last , in the museum C rnet , and an archaic c in E r th rai G T es o Greek oins . 2 y ( ardner , yp f C , pl 4 , 3 ) less like , on ’ Ichnai B ab elon T 1 raite . 2 coins of ( , , pl 49 , and The matter of G R E E K : A R C H A I C q

- A o H S xx . . . . xvn horse tamers has been discussed by B C ok in j . , — e A e . 1 2 to pp 3 5 , with ref rence an archaic ttic r lief in Cambridge ’ hrb h 1 o a uc . . see als Zahn in j , xxiii , p 79 A further parallel to ’

F . . o 8 6 . our h rse s gait on the scarab , pl , 4 ’ The hair on the horse s forehead is treated in much the same on o o o way the archaic iv ry plaques , of I nian style , c llected by '

o Romische Mitteilun en . 1 6 2 . 1 2 P llak ( g , xxi , pl 5 , and pl , ) the k o o o o o . iv ry h rses , h wever , have a t p n t as well ’ o o 8 On the h rse s head and d tted headpiece , see number 2 . o Sec nd half of the sixth century .

H C . Pl . 2 . From yprus Formerly in the iggins collection 1 0 u Cesn ola S a la mina 1 8 (sale catalogue , 9 4 , n mber , , p . 5 , F 1 0 1 6 . . 2 . . 2 fig ; , pl ,

o s et o Sard , slightly c nvex , in a g ld ring .

‘ Th e ston e o o is perforated , and in the two perf rati ns are bolts ending in nail - heads which secure the stone in a setting decorated t with two bands of cable pattern in wire . A either end of the setting a ring is applied into which the ends of the h 00p are Mr H inserted . The present hoop is modern and . iggins said that he had had the setting lowered because it covered too much of the gem . H o atched border , flattened at one end and disc ntinued at the a l H L . Furtw n er other . erakles and the ion g makes the stone o z s o o of h ri ontal , and if it is placed the versi n the subject is that which i s preferred by artists of the later archaic period (see i t nische Mitt ilun en 1 1 8— R n A he e . 0 R eisch , g , xii , pp 3 , and obert , D a ko a lie s 1 0 C es n l u ie a ntiken S r h enre . 2 o a s p g f , iii , pp , p posing that the flattening of the border is intended to provide o o : two a gr und line , places the st ne upright if he is right , z motives are contaminated , the hori ontal already mentioned , and Histor o A ncient P otter the upright motive (Walters , y f y , i , pl . ’ Furtw éin ler s g arrangement is adopted in our plate , but the other is possible . ’ H u erakles has his arms clasped ro nd the lion s neck , throttling - o it his beard pelleted his hair cross hatched , with two r ws of ’ elle s H t for the lower edge . The lion has one forepaw at erakles ’ hind aw H his nee , and one p close to erakles forehead mouth e : is wid open , with the teeth showing the pucker of his nose rendered by pellets short bristling hairs all along his back as far as it is visible tw o rows of short hairs arranged herring - b one o on e o f ashion al ng his belly , row against the body , the ther against the b ackground . The figure of Herakles recalls the archaic reli ef from Lamptrai Re es e e of o in Attica pub lished by isch , the earli t xampl the h ri A thenische Mi tteilun en l o b . zon ta m tive in mar le ( g , xii , pl 3 , - fi u red of Oltos o Album and a red g cup in the manner (P ttier , des vases da Louvre . . , pl 73 , F both these about con o on temporary with ou r gem . The lion resembles the li n the o o o later scaraboid fr m Cyprus , number 34 in the present c llecti n , to which the reader is referred .

Last quarter of the sixth century .

2 3

Pll 8 . o o . R 1 . 2 . 44 and From the Bruschi c llection at Cornet

- - Pseudo scarab . Black steatite , hand engraved . The convex part in the fo rm of a youthful face which has the appearance of wearing a kind of cap or helmet the rump and of e s o H - the hind legs the beetl are al represented . alf way along each side , a circle with the centre deeply incised . The fringe of No o hair hatched . vertical b rder . o o Hatched b rder . A man driving a biga . The wheel has f ur r o spokes . The mane is endered by an outer arc with sh rt trans verse lines . Very rough work . o s - For the style , c mpare the teatite face scarab in the British f M F . . 8 1 or useum ( , pl , 4) the mane , besides the last , a sard

F . G . 8 scarab from reece in Berlin ( , pl , and another , with i a o f . b o B M F . 8 a g , finer w rk than ours , in the ritish useum ( , pl , E gyptian scarabs with a face substituted f or the b eetle occur of M K o H a ta lo ue o as early as the end the iddle ingd m ( all , C g f E tian S ara bs i the B ri t s c n i h Museum . . gyp , i , p xiv) Porcelain - G or o of face scarabs , mostly reek Ph enician imitations Egyptian , N a tis Na ucr . have been found at aucratis (Petrie , , i , pl 3 7 , 4 , — o 8 8 1 1 a tis 11 . 1 8 . G Naucr c mpare pl 3 , Ernest ardner , , , pl , 5 5 ’ R 1 evue a rcheolo i ue . 2 and 5 9 at Olbia ( g q , xviii p ,

. D H m ll . o o e F ouilles de Del hes 2 . fig at elphi ( p , v , p 5 , fig M s u ee Ala oui . and at Carthage (see , supplement , p 3 5 3 , number G - 8 0 : F . reek face scarabs , in sard , . , pl , 3 in steatite , ’ F 8 1 1 8 1 e . . is F . . , pl , , where the face a silen s , and , pl , 4 , wher G R E E K : A R C H A I C 1 7

two there are faces . The type was known to the Etruscans also o o F e in the C rnet sard , . , pl . the beetle is replac d by the of o o o face a y uth with a fillet in his hair . Fr m a similar st ne , o f o d es a br wn jasper fragment , und at Falerii , in the Cabinet M Bab elon ollectio P a uver t de la ha e e 1 0 1 1 n ll . 6 édailles ( , C C p , pl , ) th e o o I n B the face is in same style as the C rnet face . the ritish M F 8 1 useum sard , . , pl . , 3 , which is probably Etruscan rather ’ G f or than reek , a silen s head is substituted the beetle . o Sec nd half of the sixth century .

24

. . . 0 2 . 0 . T L 3 3 , Bu 7 Pl . 2 . L Scarab . ight greenish steatite .

No The beetle rough . Strongly ridged . winglets or vertical A o of border . long the l wer edge the thorax , a line merely . The not elytra separated . H Hi . s atched border . A silen tuning his lyre action is o rendered with some precisi n he rests the lyre on his left thigh , his his steadying it with left hand , and turns the peg with right ’ his H e head is thrown back . has horse s ears , human feet , and a tail which encroaches on the b order and is covered with thin - o Hi . s lines arranged , roughly , herring b ne fashion beard is long

and bushy lines run down it lengthwise , and shorter lines , set to of at an angle the others , indicate the thinner edge the beard . His ' hair falls in long locks over his shoulder , and is plain except o o o in fr nt , where it starts back fr m the f rehead in a striated I n ri H e . . sc mass . is ithyphallic The toes are not indicated p O N E M O 5 ovem os tion , very hastily written , N , y to out The inscription is hard make , for the letters are hastily o o f rmed and the surface of the soft stone is scratched and w rn . o on e o - The omicrons are of irregular shape , the sec nd l op like . o d o n ot The nu is slanting , and the second and third str kes o o to o tw o touch . The epsil n is indistinct wing an abrasi n , but

- cross strokes and part of the back are visible . The sigmas are

pretty clear . The iota is short and perhaps slightly curved . The o o first two str kes of the mu are thin and shall w , the third missing ,

o . the f urth short , thick , and deep o of e For the subject , compare the scarab in B ston , Etruscan fre

on . style , with a naked youth seated a rock and tuning his lyre 2 2 3 1 D 1 8 I N T A G L I O S

On a scarab of light green steatite , the same material as ours ,

6 Fu r an l er N . . E $ . w O A F . t Lo Pl . in the uvre ( , 5 ; , pl , g read n u m e e r e e as g e o . which h interp t d t , a nam attested fr m Cyprus on ou r f or The inscription , like that stone , and the same reasons , is

O N sl M o 5 . diffi cult to d ecipher . The writer reads s on the imprint e o The nu and the psilon , which are b th slanting , are quite clear , o and the slightly curving iota . The mu is als certain the first tw o ok o two o str es are long , thin , and shallow , the ther sh rt , deep , o o o and thick . The microns seem to be shaped as lo ps pen below the upper portion of both has almost disappeared . The o o form of the first sigma is d ubtful , as a crack runs thr ugh the upper part the top of the second is rubbed away . The subject of the Louvre scarab is a young warrior testing of o an arrow . The style certainly resembles that our st ne , o oo k especially in the furr wed thighs , the big l se nees , the heavy M o o of o upper arm , and the feet . re ver , the letters the inscripti n re o E o a pr duced in the same manner . verything tends to sh w tw o o O n es im os that the st nes are by the same hand , and that is the name of the author and n ot the owner ; which might be o inferred , if ther arguments were wanting , from the illegibility of o the inscripti ns . ’ o n ot It may be bjected , that an artist s signature is probable of o - e w on a gem sec nd rate quality . This argum nt is al ays a bad on e n o G o , and that it has validity in reek art could be sh wn by many instances : s ufli cien t to cite the amphora signed by the - Pol n oto M me i dei Lin s onu nt cei . 1 vase painter yg ( , ix , pl ) and , in o - $ VP | E $ E P O | E $ E gems , the pseud scarab with the signature in B r M F 8 1 1 in s cri tion ahrb ch . . u the itish useum ( , pl , the p , ] , iii , 1 pp . 95 That stone is particularly relevant to the present f or of not e o o case , it is the same , xtremely c mm n , material , and th e e n ot to of k styl , speak the lettering , is clearly a in . The ’ o e o o th e o inscripti n is b y nd d ubt artist s signature , since the pr per ’ S ries f o o evrol a e S ries name y is ll wed by n . y is conjectured by Ro b Fu rtw an ler to E hl and y g have been a uboean , because o Io f o E alth ugh his name is nic in rm , he writes it with and . o ffi S ries On the gr und of his stylistic a nity with y , we should be to ou r of G M inclined place artist in the same quarter reece . ore k S ries f over , li e y he uses E where an I onian o Asia Minor would e H tw o of his - o hav used , and sigmas are three str ked , while the two f or of other are doubtful . The m his name says n o more n ot D than that he was a orian . There is nothing to prove that G R E E K : A R C H A I C m

not A his he was an thenian indeed , silen is more closely akin to Attic silens than most on gems ; and his archer has many fellows on Attic vases . If one inclines to Euboea rather than to A f S ries ttica , it is because of his a finity with y . A third stone On esim os its may be attributed to , from resemblance , already o Fu rtw an ler to his L n ticed by g , scarab in the ouvre namely , i the greenish steatite scarab in Berlin , with a warrior drawing h s F . 8 bow ( . , pl , L f Furtw an l ast quarter o the sixth century . g er places Syries a hrbuch in the middle of the sixth century (j , iii , p . but that o is und ubtedly too early .

2 5

...... 2 . A 1 8 8 . B B 3 9 , 5 Bu O 79 Pl Bought in thens , 9

6 8 . F . . , pl 4 ,

R z . o ing of pale gold , with engraved be el The ho p quad rangular and very thin .

- : A light armed warrior a bearded man , wearing boots and o pointed cap with a flap in front of the ear , h lding spear and

. o wicker pelta The right leg is frontal , with the fo t seen at full length ; the left leg is in profile and passes behind the right o of o o the figure is to be th ught as m ving t wards you . The long o z hair is plaited h ri ontally at the back of the neck .

End of the sixth century .

2 6 P I. . : G . . 0 1 . 2 P 34 , From the Evans collection bought in 1 9 1 1 .

Scarab (or less probably scaraboid) , cut . Chalcedony , rosy brown . A o . G . Hatched b rder round line thena walking , with spear o o b o and shield . Crested helmet , chit n , himation passing ver th arms ; long aegis with the gorgoneion in profile ; the serpent fringe of the aegis visible on either side of the himation plain row of f or on o : necklace . A pellets the hair the f rehead the hair which escapes from the neck - piece of the helmet is cross o hatched . The gorgoneion als has a row of pellets on the fore head : the mouth is wide open and the upper lip protrudes beyond the nose the head h as almost lost human semblance . 20 I N T A G L I O S

. 1 6 A F . A similar thena on three archaic Etruscan scarabs ( , pl , 1 1 10 on o numbers , , and 9) himation and aegis similar an ther G (ibid . , Compare also the archaic reek scaraboid of rock A o o o B M 6 . o crystal , ritish useum 4 9 (Pl , The pr file g rg nei n on o - ahreshe te is paralleled a hydria of Etrusc Ionian style (j f , xiii , l - 6 a n d o n C pl . 5 ) an archaic scarab from yprus in the British 6 s ee F . . 6 Museum ( , pl , 5 on number

End of the sixth century .

2 7

to 8 . . . R . 8 1 . . 1 . 2 4 Bu O Pl , and , enlarged , Pl 9 Said h - have come from Aegina . Formerly in the Prokes c Osten and

k e icz 1 1 F . olle ti n sz i . 2 z z o . c o T w Tys kiewic c llections C y , pl 4 , , 1 Ne e ahrbucher 1 00 8 8 . 1 1 u pl . , 3 , and , enlarged , pl 5 , Bulle , j , 9 ,

1 1 . pl . , 4

. C . Scaraboid , cut halcedony

An o H o . atched b rder archer a naked y uth , kneeling , three

- quarter back view , drawing his bow . The hair cross hatched o the edge in front pelleted a r ll at the edge behind , into which of the vertical lines the hair extend . Compare the archer on an even finer scarab oid in the S outh esk Pl A 1 0 collection which . , is probably by the same hand ( , ; ta lo ue 8 6 1 1 S o t sk a . 2 . u he 2 3 , and , enlarged , pl , 4 ; C g , pl , B ) f or on - fi ured the attitude , the slinger an archaic red g cup in L H Meisterscha len 1 8 1 H o E uth n udes eipsic ( artwig , , pl . , ppin , y

a nd his F ellows . , p E im en es 8 Probably by p see number 2 . 0 About 5 0 .

8 1 . . 1 R . . . 2 . . 7 Bu O 4 Pl , and , enlarged , Pl 9 From the z C Tyszkiewic collection . ount Tyszkiewicz told the present owner that it w as certainly found in the Egyptian Delta and F N . . . 1 e e . 1 perhaps at aucratis , pl 9 , 4 nlarg d , pl 5 , 7 drawn , B Ne e ii . . u a hrb e o His toire h r 1 1 . c e 1 00 . ii , p 44 ulle , j , 9 , pl , 3 P rr t , ’ ’ de l A r t 1 8 1 a l r . . Furtw n e s o , ix , p , fig 9 , after g drawing F wler k Gree A rc a . 8 h eolo 8 0 . and Wheeler , gy , p . 3 7 , fig 3

Scaraboid . Sapphirine chalcedony .

2 2 I N T A G L I O S

o of E im en es is - w rk p the scaraboid of rock crystal , with a seated u a yo th m king a helmet , which has recently been acquired by the Munich collection : exactly h ow close it stands to ou r stones cannot be d etermined from the n ot very clear reproduction in A r hdolo s i i cher A z e er 1 1 . c n . g g , 9 7 , p 3 5 It is natural to b egin by equating Epim en es with Attic vase f o of painters , because they have le t m re and clearer examples o this style than any other body of artists . Of c urse it is traceable o f n ot o o in ther classes o monuments . It has hithert been f und on Ionian vases produced beyond doubt in the eastern part of G o n ot on Clazom en ian the reek w rld , in particular vases , for the three - quarter b ackvi ew noted by D uem mler on the London vase ’

o A o b t 1 1 . 6 K R mische Mi t eilun en . 6 fr m e lian yme ( g , iii , p and pl ) ’ o M o exists , as may be seen fr m ansell s ph tograph , in the illustra o o h driai . o k o C aeretan ti n nly The style is als un n wn in y , which are s ometimes thought to have been made by I onians working in f o the West . We come up o n it at last in ull swing on the n table amphora in Wii rzb urg republished not very long ago by Klein G A userlesene a s bilder 1 ahreshe te V en . ( erhard , , pl 94 7 f , xiii , ll I o p . 5 This vase also was n o doubt made by an nian in

- . o Etruria Turning fr m vases to wall painting , we find what we o e th e are looking for in the Tomba delle Bighe at Cornet , wh re decoration was probably executed n ot merely under Ionian

o o a hrbuch . 1 0 inspirati n but by I nian hands (Weege , 7 , xxxi , pp 5 Coins off er fewer or less obvious instances than gems : e o o o on o examples , such d signs as the disc b l s the early c ins of Cos G T e 0 H . S . . s 8 . . 2 ( ardner , yp , pl 4 , 7 xxvii , p 3 ) and the o of Kelen deris G T es horseman on the early c ins ( ardner , yp , pl . 4 , In sculptured relief , examples are still less frequent b ut Alx en or N the stele carved by the Ionian of axos (Perrot , ’ Histoir de l Ar t e . 6 1 , viii , p 3 ) looks almost like a drawing by D ouris translated into stone . The legs are similarly fore o on M e B M sh rtened a elian clay relief in th British Museum ( . . a ta lo ue o Terra cotta s 1 C g f , pl . 9 , The style which we have been following up belongs essentially to the history of drawing and n ot to the history of sculpture ; low relief or intaglio in o whatever material , ccupying an intermediate place between the tw o k f of o o . arts , but parta ing alm st more the first than the second The parallel development in sculpture proper does not require illustration here . of th e For the peytrel , and the dotted headpiece bridle , G R E E K : A R C H A I C 2 3

ur éin ler 11 6 Clazom en i tw . a F g ( , p 9 ) has already referred to n vases o e e o and sarcophagi . We have enc unt r d the d tted headpiece on the stone number 2 1 it is also f ound on the sarcophagi in M a S arco ha i ll 1— Lo Terracott . ndon ( urray , p g , p 7) and in Berlin ' D a er 8 on f A ntike enkm l . Clazo ( , ii , pl 5 ) ragments of a m en ian A B A thenische Mitteilun en hydria in thens and russels ( g , xxiii , on lazom enian L o A ntike D . C enkmdler pl a vase in ond n ( , - of f . 2 2 1 o K pl , , on a neck amphora the same abric fr m ertch I z vesti a I m era torskoi A rkheolo icheskoi K ommissii 1 0 ( y p g , ix , 9 4 , l m en ian . on C azo N p and a fragment , from aucratis , in Oxford and as late as the ripe archaic period in a representation of H ades carrying off Persephone on Locrian clay reliefs (B ollet ’ i o d r Ausonia t n A te . 6 . . , iii , p 4 7 , fig 37 , iii , p The dots represent metal studs set in the leather straps a more precise rendering is found on Assyrian reliefs . In the great mosaic from o o of D A P mpeii , the h rses arius and lexander have the headpiece D as Alexa ndermosaik a us P om e i 1 heavily studded (Winter , p j , pl . H a db c d r K st eschichte n u h e un . Springer , g , i , pl A peytrel of the same type as ours is worn by horses on the ' Clazom enian o A ntike Denkmaler . 2 6 sarc phagi in Berlin ( , ii , pl ) M Terracotta S arco ha i . on and in London ( urray , p g , pl and the Clazom en ian vase from Aeolian Kyme in the British Museum ' Ro o mische Mi tteilun en . ( g , iii , pl The ther peytrels cited by

' ur éi n ler o - Wissow a v E i tw R s . . m en es F g and by ssbach (in Pauly , p ) Furtw an ler are not of this type . g sees a floral motive in our example , but there is nothing floral either here or in the cases s quoted above . These bands must be textile (or po sibly leathern) , tasselled , perhaps , but not necessarily , enriched with beads . of A Tasselled peytrels the same type are worn by ssyrian horses , f or instance on a relief from the Palace of Ashur- nasir - pal at N ss rian S cul tures in the B ri tish M useum 1 A . imrud ( y p , pl 7 , A o of D In the lexander mosaic , the h rses arius wear a plain band , f e f o on evidently of stu f , perhaps silk , with a single tass l in r nt loc the breast (Winter , . The horse on our stone has traits in common with the earlier on 2 1 horse number , but the treatment here is far freer and o o o m re spirited . Br adly speaking , it bel ngs to the same family as the horses on the sarcophagi and the vases of Clazom en ae ' 6 f or A ntike Denkmaler . 2 M Ter ra cotta ( example , , ii , pl urray , ' ar o a l — aler 11 8 S c h i l 1 A nti Denkm . . k e . p g , p 7 ; , , pl 5 ; ibid , ii ,

. 6 Mo o pl 5 , re cl sely akin , because bolder and more masterly , u I N T A G L I O S the horse and the ass on the Caeretan hydria in Berlin (Antike ' F rt an l r Denkmaler . u w e o o , ii , pl g c mpares our h rse with those on the marble frieze attributed to the Treasury of the D s ee Cnidians at elphi , and the resemblance is undeniable , in m olle F ouilles de Del hes ll — 1 H o 0 . o especial , , p , iv , p . 9 C mparable ’ f E r h i o o on o o t ra om Tra i te . 1 2 1 0 als the h rses c ins y (Babel , , pl , on o of o and and the earlier horses the iv ry plaques , I nian Remis he Mi tt ilun n 1 c e e . 2 style , published by Pollak ( g , xxi , pl 5 , 1 6 2 and pl . , see his page These Ionian horses , whether A carved or painted , are distinguishable from their ttic fellows , z more reticently elegant , by their emphasi ed points , by their fi erier o E u h ronios mettle and haughtier allure . The h rse of p F rt an ler - Reichh old Griechische Va se ma er i u w n l e . 2 2 ( g , , pl ) is one of the few Attic works which the horse of Epim en es brings to mind . to o s ee With regard gr ups of horse and man , the reference o f quoted on number 2 1 . A gr up painted on the wall o th e o C o ahrbuch T mba delle Bighe at ornet (Weege , 7 , xxxi , supple 1 8 s o ment to p . 3 ) far resembles ours that the youth is seen in foreshortening from behind .

00 B . C About 5 . 2 9

0 1 N B B 1 0 2 . . 2 . . 2 . . 5 , Bu Pl Formerly in the aue F 0 o M . . 6 . collecti n at unich , pl . , 3 o Scaraboid , cut . Chalced ny .

H rifli n o atched border . A g h lding a youth , dead or overcome ,

its ffi . between paws . The wings of the gri n are straight Spiny o o c mb l ng straight ears , the ends now broken away bulging o o f rehead without horn sh rt stout beak , jaws open with teeth o o o ruff and t ngue sh wing g ggle eye at the throat , with curving ’

on . o o lines it The youth s hair striated , combed f rward in fr nt o His and downwards behind the l wer edge pelleted . left hand is open with the back showing ; his right arm raised with the

e 8 . hand hanging behind the h ad , as in numbers 3 7 and 3 F rt a of u w n ler H o . g speaks this stone in his ist ry (iii , p and p oints out that the representation is probably to be regarded f b of o o o . as a variant a c mm n theme , a y uth elled y a sphinx A naked youth attacked by a grifli n is the subject of a bronze f G k of relie from Palestrina , reek wor the late fifth century , in 1 M R Gre k New Monumenti . e York ( , ix , pl 3 , 3 ; iss ichter , , G R E E K : A R C H A I C

E trusca n a nd R oma n B ronz es in the Metro olitan Museum 6 , p , p . 2 , number but there the youth carries a sword and is probably

therefore an Arimaspian .

Beginning of the fifth century .

3 0 R 8 0 . P . 0 . . I . 2 . 2 2 . Bu 4 Pl , and , enlarged , 9 Bought Castro io an n i v . F 1 1 6 . at g (Enna) in Sicily . , pl . , 5 : Scarab , cut . Sard . The lower part missing chipped on

the head and above the shield . H atched border . A young warrior bending over to pick up his his helmet shield on his arm the left leg frontal . In the ’ A field , the letter , very large , no doubt the first of the owner s

- name . The hair cross hatched : the lower edge rendered by t o o w r ws of pellets . o The same subject and design on a sard scarab id , with o D e A : D e C . a Cypriote inscripti n , in the lercq collection (Pl , 7 R Collection De ler c 1 idder , C q, vii , pl . 9 , number and o two 0 B ur in ton F . l . 2 6 als on archaic Etruscan scarabs ( , pl , g Ca ta o 1 1 0 0 l ue . M nd a a o e 2 W ham ook t l u . 2 g , pl , 4 y C C g , pl , 4

. 2 0 o and F pl , 7) cl se , a fragmentary scarab , late Etruscan or

Fur a - l 6 tw n ler B eschreibun . early Italiote , in Berlin ( g , g , p 7 , 37 )

on o F . 2 a somewhat similar design an Itali te stone ( . , pl 3 , Compare also the youth lifting a discos on a scarab from Cyprus M F in the British useum ( . , pl . 9 , and on an archaic Etruscan scarab in the Cabinet des Médailles (Collection P a uver t de la e 6 8 F Cha lle . p , pl , 7 . , iii , p . 449 , fig .

Beginning of the fifth century .

2 . . C . Pl . , and , enlarged , Pl 9 From yprus Bought from

R 1 1 . Mrs . . W . T eady in 9 7

Scaraboid , cut . Sard , brownish . The stone has been pared all round , especially at the sides .

H G u two . atched border . ro nd band of pellets between lines A A zo Achilles and Penthesilea . chilles pierces the falling ma n in the right side with his Spear with his left foot he treads on her E 2 6 I N T A G L I O S

on ankle his right leg frontal , slightly bent at the knee . Shield o e f o arm , C rinthian helm t , chlamys astened bel w the neck with B a bro och sword suspend ed from a baldrick at his side . eard as less the hair , as far visible , pelleted three pellets indicate

k o . a slight whis er , f ur the pubes The right leg of Penthesilea o e o is fr ntal , and slightly bent at the kn e the right f ot is seen f s h e o b ow at full length in her le t hand h lds a , in her right o o o the spear ab ut to drop sh rt chit n , girdled , and drawn up s o as to o o : exp se the pubes , which is rendered by f ur pellets peaked cap with a thin flap in front of the ear plain necklace er and circular earring a large quiver with arrows in it at h side . o o of The hair ver her br w rendered by a row pellets behind , H er tw o ffi long and striated . dress presents di culties the first z is the two short hori ontal lines between her breasts , which do not fit into the system of folds : it is conceivable that they represent a clasp fastening back the short sleeves from the o sh ulders , but such a clasp is without analogy . The second is oo the two curved lines , one at either wrist at first sight they l k of like bracelets , but the width , and still more the irregularity ,

the curves suggest the ends of sleeves on closer scrutiny . The A z ma on would be wearing a sleeved undervest , reaching not

to . much farther than the waist , in addition her chiton Just such a costume is worn by the Amazon who grasps her battle axe with both hands on a red - figured calyx- krater in New York Furtw an ler - Reichh old -H ll 1 1 8 ( g auser , p . A o In the field , behind chilles , a star . A star is ften placed f or F 8 8 in the field on gems ( example , . , pl . , and 9) and on

coins , without determinable significance . A somewhat similar Achilles and Penthesilea on a red - figured New o o hydria in Y rk , the w rk of the Berlin painter in his early H S . . . . on o period (7 xxxi , pl The figures the st ne are some o to what m re limber , thanks mainly the bending of the frontal

. o of legs at the knee On the stone , the c llapse Penthesilea is o e o complete on the vase , as in ther Attic repres ntati ns (frag

M M onumenti . 1 1 mentary cup in the Cabinet des édailles , , ii , pl , 2 o - e Lo M P eintures c mpare the calyx krat r in the uvre , illingen , de s va es recs . G irau don A zo g , pl 49 , and phot . ) , the ma n is still to able extend her hand in appeal . ’ A parallel to the p osition of Penthesilea s legs is n ot easily

found the profile leg is usually more fully flexed , as for instance i n to o on b E ucharid es n the group , aki urs , the hydria y the G R E E K : A R C H A I C n

bi d r V G Auserlesene Va sen l e . 2 02 painter in the atican ( erhard , , pl phot . Moscioni The same exergual line on archaic coins of Laos and of G T es 1 1 0 Sybaris ( ardner , yp , pl . , and The indication of the female pubes is very rare apart from A -fi u red o on ttic red g vases . There als , but hardly gems , parallels can be found f or the indication of the veins on the frontal foot .

Early fifth century .

R . . 2 . 0 . . 54 Bu 2 8 . Pl 2 Whelan reported that the ring o It o o D was certainly f und at Paphos . was b ught fr m a utch o priest who was said to be a kinsman of the Duke o f Norf lk . A to R wh o of of ccording eady , had the first fer it , the priest had u his Am athus p rchased most of antiquities at , but had added L F o . . 6 1 0 . s me at arnaka , pl . , 3

Sard scarab in a gold ring .

No . A o R . The beetle r ugh . idged winglets long the lower o of of edge of the th rax , a pair lines , interrupted in the middle h oo of th e o n ot . the st ne . The elytra separated The p ring octagonal band setting enriched with egg pattern , inlaid with tw lob ulated white , red , and blue enamel , be een a plain and a g border .

H . atched border . Eros flying with a sprig in either hand

R . . o ecurved wings . A wrap over both arms The hair sh rt and

o . plain , with the l wer edge pelleted The arch of the ribs pro

i two . m nent within it four bosses , arranged two and 1118 re res entatl on s l s Eros , in earliest p , commonly associated

o r . with music , as in number 3 3 , and with plants flowers as here

‘ ” ’ Qpa ios‘ Ka i Epcos em r‘ éM er' a u fivixa n ep y$r 3/ 3 A I 3 a vdem v eta woc da AAet a e o em p g f u ) , 3, I I H Bpms 7rpor\t7rcov Kvn pov n epura AAea myo ov ’ f é a ol cla w su dvdpcbrrovs o rrépua qS pa w K r yfis .

h nis - T eo vv . 1 2 . g , 75 9

See number 3 3 . u Early fifth cent ry . 28 I N T A G L I O S

3 3

u 1 0 C P . 1 . . 2 . G . 3 9 , 3 Pl Bo ght in 9 7 from a arian who said it came from Caria .

Scaraboid , probably of discoloured sard , in a gold ring . The hoop of the ring circular , with wires twisted round it at the ends and passing through the stone , which is kept in place by two

- eyelets in the form of a four pointed star covered with globules .

1n Hatched border . Eros flying with a wreath one hand and

o R o . a lyre in the ther . ecurved wings at sh ulder and ankle L - : o ong hair , striated , and at the neck cross hatched ver the brow a row of pellets : long locks f alling on the breast . The upper part of the shoulder wings pelleted : pellets f or the dark o f markings on the tortoise shell b dy o the lyre .

o n on e Mr . COW er A replica , a sard scarab , was at time in p s ”

os s es s 1on . r1n p (Pl A The same design on a sard , set in a g , which was formerly in the Newton Robinson collectio n (sale

. 1 2 0 on o . . catalogue , pl , ) and a st ne which was once in W T ’

R . 2 o o eady s hands Similar , number 3 in the present c llecti n , ff l iii 1 0 o o e n D o . . and a st ne of s mewhat di er nt style rpat (F , p 3 , l n b o fig . The type culminates the sard scara id from Cyprus A F M Cesno a ollection New o . . . 2 2 l in Y rk (Pl , 3 , pl 9 , yres , C , ff . 2 1 2 2 o o p 4 , number 4 3 ) where a winged y uth is carrying o wh o l o a naked w man holds a yre . Whether the y uth on the New o k o E o o b f or E ro 1s n ot Y r st ne can be called r s is d u tful , s f o o of seen ll wing after women till the middle the fifth century , n ot l n f or 1s d eifi cation and it is his original nature to do so , he the of E rom en os of : the , the pursued and not the pursuer but a better name can hardly be found .

0 . Earlier than all these , the scaraboid number 2 The first quite certain representations of Eros are to be found on Attic red figured vases of the later sixth century ( Va ses in Amer a o ic . A , p lm st contemporary with these , Eros running with a flower and a lyre on a Greek bronz e mirror in the B ritish M B M . . a ta lo e o B z s u ron e . 1 useum ( C g f , pl 7 , his feet are

2 0 th e o . L winged as in number and in present st ne ater , the o i ahrbuch c ins and statues mentioned by Thiersch n 7 , xxx , PP I 79“92

Early fifth century . p I N T A G L I O S

3 5 A . 2 . G Pl ccording to memory from reece .

Scarab . Clear sard . A C No . The beetle fairly careful . arinated . winglets long

of . the lower edge the thorax , a hatched border Between the

elytra a line . H atched border . A bull rousing himself .

Bulls of this type are common on archaic and early free gems . Other examples on sard scarabs in the Wyndham Cook and D e o o A l D e k o e . 2 . 1 oo a ta u Clercq c llecti ns (Pl , 4 ; C C g , pl , 3 3 R llection D 8 o o e lerc . 2 0 2 idder , C C q, vii , pl , number 73 , fr m o - A 1 D u fli eld o on o s o B o o . T rt sa) , a r ck cry tal scarab id in st n (Pl , 5 o E n ra 8 f o ved Gems . Osb rne , g , pl , 3 ragmentary inscripti n ,

o 0 5 . AE SE . on retr grade , a sard scarab formerly in the Sarti o e o endita a r ti 8 on V S . 2 c ll cti n ( , pl , number and another , of o o M on E very p or w rk , in the British useum an truscan sard New o o z on two s cara scarab in Y rk ; and , s mewhat barbari ed , b oids of black jasper in the S ou th es k collection (S outhesk Ca ta lo of ue . 1 2 8 g , pl 7 , O 34 and O ) the latest and finest member h e 8 t F . o o B . series is a sard scarab id fr m Tanagra in erlin ( , pl , o on A similar bull , grouped with ther figures , sard scarabs in F 6 h e t k o o F . . 2 . . 8 8 t S ou h es Berlin ( , pl , 5 ) and in c llecti n ( , pl , 9 S outhesk a t lo o a ue . 1 on C g , pl , A a sard nyx scarab in the o - M k B r n ton a ta lo ue o F . u li o . 6 2 St ry as elyne c llecti n ( , pl , 5 g C g ,

. 1 08 on f r G E o pl , O a sard scarab om ela in the vans c llection F . . 6 o ( , pl , and on a chalcedony scaraboid fr m Thebes in o F Ach eloos on . . 6 Bost n ( , pl , Compare also the a sard Lo F . on scarab in ndon ( , pl . 9 , The same type archaic coins ’ of z B ab elon Trai te 1 6 1 Cy icus ( , , pl . 7 , 4 and

A sheep in the same attitude on number 3 5 bis . o o o of On the inscribed scarab id in B ston , the acti n the bull

- is explained by the presence of a gadfly on his hind quarters . First third of the fifth century

bis 3 5 .

i za imitzana . 2 Stim n t D Pl , and , enlarged , Pl . 9 . From near

in the Peloponnese . Formerly in the Evans collection acquired

in 1 91 9 . G R E E K : A R C H A I C 3 1

or . Scarab scaraboid , probably the latter , cut Bluish chal c edon o y m ttled with white . H o I i . n scr atched border . A ewe getting up fr m the ground p ’ ’ tion retro rade ivin o E PM O TIM O E M I E on .ov , g , g g the wner s name , , pp y d d on oo is i . The ewe is shorn save the neck , where the w l indi cated L : by pellets . ong tail passing between the legs creases on shoulder and elbow large eye . i ee The attitude s common in bulls on gems s number 3 5 . on tw o o Walking rams Ionian st nes , both more archaic in style o M F than urs a plasma scarab in the British useum ( . , pl . 9 , and a chalcedony scarab oid in the Cabinet des Médaill es (Collec F tion P a er d a . 1 ha e 6 . 1 o uv t e l lle . 6 C p , pl , 7 , pl 9 , ) b th bear ’ i o M an dron ax B r es s . wner s names , and y o is The inscripti n written in small , neat characters . The p right of the first epsilon overlaps the cross - strokes above and gl e ow . of First half the fifth century .

ETRU SCAN ARCHAIC

ter 3 5 . PH 8 . o . 2 . : and , and , enlarged , Pl 9 From the Evans c llection 1 R acquired in 9 1 9 originally bought in ome . o - D Pseud scarab , the beetle replaced by a figure of ionysos in relief . Clear sard .

No o vertical border . The god is running in archaic p sture to the left : his head is frontal : in his right hand a drinking o h rn , in his left a big vine branch with clusters , leaves , and his o tendrils , which passes above head and hangs d wn as far as I o his right heel . onic chiton , with hatched b rders at sleeves and o Lo o s f or ankles mantle over both sh ulders . ng even striati n

- o . the pleat like folds in the mantle , every ther pleat is hatched The outline of the hair above the forehead is a series of arcs to o convex the face . The spade beard and the long m ustache F r G o . o are hatched vertically . oggle eyes hatched eyebr ws — - 1 1 8 o ou r such pseudo scarabs , see F . iii , pp . 79 , 9 , and 7 9 als o numbers 2 3 and 44 the figure of Dionys s is unique . E Pellet border , which stops at the ground line . xergue filled

- with triangles hatched and counter hatched . The subject is one 3 2 I N T A G L I O S ’ k of Herakles adventures . The hero moves quic ly to the right o n o pposite him is a smaller man with k ees and b dy bent , and ’ o o H right hand raised , pen and in pr file . erakles right hand ’ : H grasps this person s left the left arm of erakles is extended , ’ o o o with the f rearm concealed behind the ther s b dy . Behind H A erakles stands thena , holding her spear in her left hand , and raising her right with the index finger extended upwards and the : o o other fingers closed behind the other man , a w man , wh se

right hand is raised , with the fingers spread out , holding a flower o c mposed of a bud between two tendrils , and whose left arm is bent o o at the elbow with the hand pen , in pr file , and thumb upwards . ’ o A The figures are very sh rt . The cheeks , except thena s , are s o to modelled , that the heads seem , at first sight , be helmeted . of H k o Co o k The limbs era les are p werful , with pi us inner mar ing - His his knee caps , ankles , and elbows are rendered by pellets . s et row of o eye is very high . A pellets for the hair over his f re H e : . a o head no beard indicated wears sh rt chiton , striated , o lionskin the lower border vertically hatched ver the chiton , a . His opposite has a long garment passing over his right shoulder and leaving his left shoulder free this is no doubt a himation n ot if he is wearing a chiton under it , it is indicated . The chin

is pointed and therefore bearded . The hair is plain it falls in a long mass behind : it is b ounded by a plain curved line in o of o fr nt the ear , and by a plain straight line high on the f rehead A a pellet marks the ear . thena is clad in chiton , mantle , both o - striated , and l ng snake fringed aegis . The crown of her head o e s h e n o is chipped away but it is alm st c rtain that wore helmet . H er is hair striated , and falls in a mass behind over the fore o head , sh rt locks terminating in small pellets . The other female A figure wears the same costume as thena , save the aegis her is : mantle has a hatched border . The skull plain behind the of ear , three locks hair , the outermost pelleted , the others plain e stephane , v rtically hatched in front of the ear . The interpretation principally depends on the person with o H e o of wh m erakl s is engaged . It seems clear , fr m the attitude

e s o o n ot . this p r n , that the enc unter is an amicable one The face

e . M o o on is beard d reover , the hair begins n ticeably higher up the forehead than in the other figures this suggests incipient b old : ereus aldness and hence age the figure may therefore be N , th e old man of the s ea . The contest of Herakles and Nereus is represented on a E T R U S C A N z A R C H A I C 3 3

u x number of mon“ ments from the later part of the si th century and onwards though not elsewhere in the same scheme as on our gem . The female figure behind Nereus may be his wif e D D H ? oris , but oris might be expected to show dismay : era The style of the stone may perhaps be called Etruscan rather G . is E truscan it is E than reek If it , one of the earliest truscan gems .

Second half and probably third quarter of the sixth century .

3 6

R 1 6 0 . 1 L 1 1 . 0 8 ...... 1 00 9 T 4 , . Bu Pl 3 Bought in 9 . M Scarab . urky sard .

. V . R The beetle careful Winglets ertical egg border . ound

the sides and the lower edge of the thorax , a hatched border ,

h alf e w a with a rectangular space left plain y along the lower edge . f - The clypeus go fered the plates cross hatched . A line between

the elytra .

Pellet border , which stops at the ground line . Exergue filled o - with triangles hatched and c unter hatched . A naked youth led ff o tw o . by winged females clad in chitons The hair plain , and of rolled up at the back the neck . Four round bosses for the R o rectus abdominis . ather than encumber his compositi n , the artist has given the females but one wing each . The females would seem to be death demons : a parallel is to o on representation seek , but a somewhat similar gr up an G B olo na villanovienne Etruscan tombstone of free style ( renier , g ’ et tr s o e u ue . w q , p 447) is clearly a descent to the under orld a y uth off is being hurried by two males , one winged , one carrying — s ee o D M onumenti dei Lincei . 60 1 2 . a torch als ucati , , xx , pp 7

End of the sixth century .

B P l o . G . . P . . C 8 8 . . 1 0 6 2 . 9 , 47 Bu 3 From rfu ought

M H eim el Rhouso oulos 1 0 1 . from adame p , daughter of p , in 9

Scarab . Sard .

The winglets almost rubbed away . Triple hatched vertical o b rder . A hatched border , now very indistinct , round the sides

o . o and the l wer edge of the thorax Between the elytra , pr bably three lines . 2 23 1 u I N T A G L I O S

A . Hatched border . jax dead A naked bearded man , body o and right leg fr ntal , his right hand behind his head , has fallen o o on his sw rd , which passes thr ugh his left side a female figure moves quickly towards him and covers him with a large cloth . kol os She wears a chiton , girdled , with short p the general out H er o . line of th e right leg is sh wn through the cloth hair , which is plain , falls in a heavy mass behind and is tied near the end . of A Pellets on the upper part of the wings . The hair jax reaches His filleted . to his shoulders and is and hatched left arm raised , with the hand at the crown of the head his right foot seen at full length . I 1 if n the Ajax of Sophocles (9 5 . ) Tecmessa spreads a garment over the disfigured corpse of her husband oi/Vl oi um n epwrr vxei ' ' ’ ( a et Ka Av /w 7 1 586 n a m d v errei b p d 2 u i n , 0138629 du o 3011 9 rea l (pi/ms: TAM ?) BAerrew

o o The figure on the stone is winged , and theref re cann t be o o o Tecmessa . It is not unlikely that S phocles t ok the m tive , o o of A s a Tecmessa c vering the b dy jax , from an earlier , y an epic o p em ; that the representation on the stone is derived , in the o o or l ng run , fr m the same source ; and that the engraver , to a o a predecessor , added wings the female figure on the an l gy of kindred scenes where divine beings are busied with the dead as f or on o 6 8 or dying , , example , the st nes numbers 3 and 3 in I o . t n ot o the present collecti n is winged youths , and m rtals , o o wh o on o h lding a heavy cl th , are painted the walls of the T mba on e of o della Pulcella at Corneto , at each side the alc ve in which ' ike De k ci r o A nt n m le . the inmate of the tomb rep sed ( , ii , pl A o o to lth ugh the st ne is traced Corfu , the style is Etruscan G rather than reek . of Beginning the fifth century .

3 8

R 8 1 B . 6 . u . 1 . . . z z N O 7 Pl 3 Bought by Tys kiewic in aples .

. M . A n li 1 8 on T sz kie i z n a i w c . 8 . 2 1 ollect 2 P J eier , , 3 , p 3 C y , pl 4 , 8 F . . 1 6 o 2 2 . A s ects , pl , A r ugh sketch in F . Parkes Weber , p o Dea th a nd 1 fi d A s . 6 1 orr ela te ects o L e . 1 1 f C p f if , p 5 , g , and A s ects o Dea th in A nd E i rt a ra m . . p f p g , p 3 79

Scarab . Sard . E T R U S C A N z A R C H A I C w

. . V e The beetle careful Slightly ridged Win lets . ertical gg

. Ro o e of o border und the sides and the l wer e g the th rax ,

- a hatched border , interrupted by a triangular depression half way o R of along the l wer edge . ound the head , outside it , two rows

o . A d ts line between the elytra . H A o e atched border . dead y uth borne by two winged figur s , on e k o female and one male . The corpse is na ed , the p se parallel A to that of jax on number 3 7 the hair hatched , and the lower part of it falling vertically f rom the neck (compare number is o The male bearer naked , the female clad in chiton and himati n . o filleted o o The hair of b th and hatched in the male , d ne up int o a little r ll at the back of the neck , in the female reaching to the s h u lder - and worn zazzera wise . The upper part of the wings epl p eted . ’ The disposal of Mem n on s body is depicted in Attic vase of L o Zur Ai thio is Neue paintings the early fifth century ( wy , p , in a hrbucher 1 1 8 1— Lo 7 , 9 4 , pp . 94 earlier literature is cited by wy s ee i l s he Lek the — R ez er Weiss rundi e A tti c n . 1 0 also , g g y , pp 9 , and Wil itz - M sch los I nter reta tionen am ow f Ai . 2 oellendor f , y , p , p 45 , o o note The representati ns , as L wy shows , divide into two o classes corresponding to two diff erent moments in the st ry . In E os s on one class , the winged goddess is lifting her , still dripping o of with blo d , from the field battle , or bearing him away in her

Douris . 1 D o . arms (cup signed by ouris , P ttier , , p 4 pelike by

Vases in America . o the Syleus painter , , p In the ther , it is H who two winged youths , ypnos and Thanatos , are raising the to to o body , now washed and anointed , carry it that rem te country where Memnon is to enjoy the immortality granted him ' M Wiener Vorle eblatter D by Zeus (cup in the British useum , g , , M - L M onu . . 1 68 pl 3 , phot ansell 3 calyx krater in the ouvre , nti — , vi vii , pl . i o Zur Ai thio s . L wy , in his brilliant article p (p conjectures tw o that the engraver of our stone has fused the moments , and E os f o e that our female is to be called . Be r this interpretation is

E o e . accepted , two other truscan scarabs must be c nsid red On

M o M orrison a ta lo ue . 1 F . 1 6 . 2 the rrison stone ( , pl , 3 C g , pl , on e of f o o e the bearers is emale as in urs , and the ther mal B b M . M ut in the later and rougher stone in the British useum ( . a A o of ta lo ue 6 o . C g , pl . E , 34 ) b th are female like variati n sex is observable in another class of monument : a bronze cista a ta lo ue de la Collection Ales handle , of archaic Latin style (C g w I N T A G L I O S

sa ndro Castellani R 1 88 . 8 2 82 , ome , 4 , pl , number ) is formed of two armed and winged male figures carrying the body of a young o o - R Re ertoire de la warri r and on an ther cista handle ( einach , p

s ta tuaire . 2 1 2 . , ii , p 5 , ) the winged bearers are both female It may b e taken that E os does not appear on the London or on - D - o stone the last named cista , for a pair of awn g ddesses is out of the question . This does not imply that our female is n ot Eos , for the type may have been reinterpreted and diversified later but it makes the identification doubtful . Our female may

- be a death goddess . We have left out of account those examples in which the o bearers are wingless and theref re presumably mortal , in par ticu lar - on f or the handle groups Prenestine cistae ( example , Re l New o oc . . 2 2 2 inach , cit . , iv , p 3 , , now in Y rk , with male

. 2 2 1 on e . 11 . 2 1 1 bearers ibid . , ii , p 3 , , bearer female ibid , , p 5 , , ’ B olletti o d r 1 1 8 1 1 8 tw o o n A te . , iii , pp 79 , , and 3 , warri rs bearing a woman) f or by the time they were made the group had become o a dec rative type without mythical significance .

Beginning of the fifth century .

3 9

R . 6 . . . . 6 2 2 . . o 5 Bu O Pl 3 , and , enlarged , Pl 9 B ught in — 8 . F . 6 1 1 1 6 . . Perugia , 9 7 , pl , 9

- Scarab . Banded agate , bleached , now white and sky blue .

. to The beetle careful The winglets reduced humps . Vertical o o R cable b rder with pellets in the lo ps . ound the sides and the o o - l wer edge of the thorax a hatched b rder , interrupted half way

. along the lower edge The clypeus and the plates dotted .

Between the elytra two lines . o Pellet b rder . Small exergue , with egg pattern : the right foot of the figure passes over this and rests on the border . A o chilles , beardless , bending and drawing a cl ak over his shoulder with both hands . On the ground in front of him a Corinthian

. A xl/ I LE Achile retro rade helmet Inscription , , g . The hair hatched , o z zz - fille w rn a era wise and ted . The pubes indicated by three small pellets . o o of o The p siti n the legs , one fr ntal with the foot f o re r o shortened , the othe cr ssed behind it , is particularly frequent - fi ured of in red g vases the ripe archaic period , though it is found m I N T A G L I O S

on o z the scabbard the hilt is planted the gr und , symboli ed by ’ o o o the hatched border , and the p int directed t wards the her s ribs . The left leg frontal , and the right leg crossed behind it o as in number 39 . The massive f rms present a contrast to the slender elegance of the contemporary figure on number 3 9 . The o filleted l ng hair , which is , and the trim beard are hatched the hair hangs down in front of the head and recalls the hair on 8 : number 3 . The nipples at the corners of the pectorals the linea alba indicated from navel to pubes . The hands more of formal than the rest the figure . of The same subject on two Etruscan scarabs free style , one M A 1 B t o 1 2 M a a l e . . . u in the British useum (Pl , 9 . C g , pl E , 3 A 0 F . 1 oo o . 2 , pl . 7 , the other in the Wyndham C k c llection (Pl , ; B a ta o e 1 1 0 M 1 k a ta lo ue urlin ton l u . 2 W ndha m Coo g C g , pl , 7 y C g , ff o . 2 : pl , The motive is di erent in all three in our st ne the figure is made frontal in the taste of the ripe archaic period . An earlier moment is represented on a scarab in Copenhagen F 6 o ( . , pl . 4 , which bears a Latin inscription and is po rly lo o of of executed in the glob o style . Other versi ns the suicide ’ A M B o ett o d t 1—8 : ll in A r e . 6 jax are discussed by ilani in , ii , pp 3 the z o P o excellent bron e statuette in Fl rence , found at opul nia , which 13 M 6 Notiz ie . . 2 . 2 published by ilani (ibid , pl and p 3 also in de i 08 08— e i a n o r a l o Archaeo l S ca vi 1 . 2 Am r c u n g , 9 , pp 9 , and in 7 f

lo 08 E . 1 0 . 2 of gy , 9 9 , p ) is truscan work the same period as our gem A seventh - century representation of the same subject on a lenticular gem of green serpentine in the Evans collection it was found at Peraia near Corinth and bears the retrograde $ | inscription A a NA N.

First quarter of the fifth century .

42 G . 8 . . R 1 1 . 2 . 2 . P 34 , Pl 3 Bought in ome , 9

Scarab . Sard : partially translucent .

. V o s u r The beetle careful Winglets . ertical egg b rder , o a R m unted by hatched border . ound the sides and the lower of o o edge the thorax , a hatched b rder . The parts ab ut the head o e br ken away . Thre lines between the elytra . o H . on Pellet b rder erakles lying a raft , which is supported - o by amphorae half submerged . With his right hand he h lds the e nd o f the sail , as well as his bow and arrows in his left hand E T R U S C A N z A R C H A I C 3 9

his as : club , if he were steering with it his left hand rests on o o : f a little d ubled cushi n . Beardless short hair , ull at the neck , o o hatched , with faint pelleting ver the f rehead . is o of The left thigh fr ntal , the rest the left leg foreshortened ’ f or o Gettin er Vas en- E v rocn a xa away this motive see Jac bsthal , g m , 1 on e p . 5 of the earliest examples is on the psykter signed by E h r i a - h u on os Furtw n ler Reic h old . p ( g , pl and it is common on ri e archaic vases . he same subject on an Etruscan mirror from Cervetri in the i M 6 2 Monument . British useum ( 7 ; , viii , pl and often on N Etruscan and Italiote stones . earest ours , the coarser scarab in A 1 F . 6 . 6 2 . Copenhagen (Pl , 7 . , pl 4 , and ii , p where the leg , o o however , is not foreshortened as in urs and thers . Examples F 1 — 1 6— 0 8 . . . . 2 . 1 and variants , pl 9 , 3 9 pl 9 , 3 7 pl , 3 9 pl 9 , i l ti dei Lincei 0 G ab r e M onumen . 1 1 6 1 0 3 5 and 4 and , , xxii , pl , . 8 1 For o F . 1 B o o the craft , c mpare the scarab . , pl , 3 , and the e tian Va ses o G A shmolean . kotyle in Oxf rd ( ardner , , pl The sub b t F r an ler F . u o u tw . o jcet is discussed by g ( , iii , p his c nclusi n is Open to doubt the representation is probab ly to be connected ’

H o Nemeans . with erakles western v yage (Pindar , , iii

First quarter of the fifth century .

43

. C G . 1 . u P . 3 5 , 5 . Pl . 3 , and , enlarged , Pl 9 From hi si . 1 1 Bought in 9 4 .

Scarab . Banded agate .

The beetle careful . The winglets reduced to humps . Vertical R o o egg border . ound the sides and the l wer edge of the th rax ,

H . a hatched border . ead , clypeus , and plates dotted Between the elytra , three lines . H Pellet border . erakles , beardless , drawing water in a pointed f o amphora from a fountain , the spout of which is in the rm of ’ his his b ow a lion s head behind him , club and with the string

a Pc L H erole o . loose . Inscription s s , , retr grade The hair short ,

- and cross hatched with the lower edge pelleted . H o o o on The subject , erakles at the f untain , is c mm n gems F 1 F I o . . . 8 G , pl . , 3 9 , reek the rest Etruscan and tali te ( , pl 7 ,

. 6 1 2 . 1 2 0 . 20 2 s . 1 45 pl , 3 pl 9 , ; pl , 5 compare al o pl 9 , 1 9 and An of workmansh1 agate scarab , excellent Etruscan p , in the 40 I N T AG L I O S

o o A museum at Cornet resembles urs in style (Pl . , a naked o r E LE e o oil f o y uth , inscribed , Pele , P leus , is dr pping r m an aryballos into the palm of his hand : squatting on the ground in o o o front of him , his little negr attendant who h lds his sp nge . f First quarter of the fi th century . 44

8 o PH . R 1 0 G . 1 . . P . 2 2 5 , 3 and B ught in ome , 9 9 .

- Ps u . e do scarab , the beetle replaced by a siren in relief Banded agate , brown and white .

‘

No vertical border . The siren is very carefully wrought . on e Both head and body are frontal the fists are close together , : o under each breast the legs are also f lded up symmetrically . o o Sleeved chiton with the b rder at the neck hatched . L ng hair , filleted o , and falling in a heavy mass on either sh ulder . - r o F rt an l 8 u w er . 2 Several siren sca abs are menti ned by g (pl , 3 1 8— tw o o S outh esk o and iii , pp . 7 9) there are thers in the c llee 6 = S o thesk a ta lo ue . 2 A 1 A F o u . 2 . . 2 0 ti n ( C g , pl , 3 , and pl , , pl , o The head is usually in pr file .

o . o o Pellet b rder Warri r running and looking r und , with o spear and shield . Short chiton , leather c rslet , helmet with - of on cheek pieces . On the skull the helmet , a spiral the

- o . A f rehead piece , an eyebrow row of pellets where the crest o is attached to the helmet two thers , between lines , across the

o . o waist of the c rslet The corslet has a b rder , vertically hatched , k at the nec . The long hair escapes from the helmet behind . f First quarter of the fi th century . 45

o zo F rtw an ler . . A z u G 1 . . 2 . . P . 34 , 4 Bu L 5 Pl 3 Fr m re g

C . . says hiusi , wrongly it seems Formerly in the Evans collection

F . 1 . 0 2 . , pl 2 , M Scarab . urky sard . o The beetle careful . Winglets . The vertical b rder reduced Ro of to a single uneven line . und the sides and the lower edge d the thorax , a hatched border . The parts about the hea broken A away . line between the elytra .

Pellet border . Eros flying down with a taenia in his hands . filleted o a z zz The hair hatched , , and w rn in long a era .

First quarter of the fifth century . E T R U S C A N z A R C H A I C 4 1

46 R 6 PI . 44 . . 3 . From the Bruschi collection at Corneto

1 8 6 . F . . 6 1 2 . bought in 9 , pl , 4

Scarab . Opaque sard .

. V The beetle careful The winglets reduced to humps . ertical A o o egg border , surmounted by a hatched b order . l ng the l wer of o edge the thorax , a hatched b rder , which may have extended to the sides , but here the surface has suff ered . Three lines tw be een the elytra . H atched border . Jason , swallowed by the dragon , or perhaps 0 1s s uin o e g fr m its mouth . B ardless ; petasos ; sword in right ,

shield in left . A - fi u red scene from the same story on a red g cup , painted of D o V Monumenti in the later manner uris , in the atican ( , ii , ’

. M . o pl 3 5 phot osci ni) the hero s name is given as Jason .

First half of the fifth century .

GREEK FREE STY LE

47

Fu rt an l r 6 R 1 . . w e . 6 86 . . . 2 . B B , 2 . . 3 5 Bu O 3 2 Pl 3 g D r To fler 1 8 0 says that . p acquired the stone from Sparta about 9 , L but that it was known many years previously . ater in the F 6 . z z Collection T sz kiewi cz . 2 Tys kiewic collection . y , pl 4 , ; , 86 S ale Ca ta lo ue . 2 . 1 0 T sz kiewi cz pl , 3 ; y g , pl number ; ’

8 0 . Histoire de l A rt . 2 . Perrot , , ix , p , fig 3 , from a drawing

Sard , slightly convex ; cut down at the back . A Line border , stopping at the ground line . pollo with sceptre , H e o o . hawk , and spray of laurel , acc mpanied by a r ebuck stands o f with b th feet frontal , the right knee slightly bent , and the le t

side of the body consequently a little higher than the right . A o A en d o f sh rt cloak over his shoulders . pellet at either his

sceptre . The toes rendered by pellets . The eye large and in k o e ch ec . profile , with a stroke below it to m d l the The hair

- z zz . worn a era fashion , with a fillet striated , the edge pelleted Figures with both feet frontal do n ot occur s o early as figures with on e foot frontal and one in profile : one of the earliest instances is the woman on a cup by the Panaitios painter in 2 2 3 1 G I N T A G L I O S L l R . . ondon (F . , p The bent knee marks a later stage , that of the marble youth from the Acropolis at Athens wh o has been associated with Kritias the statues of the Olympian pediments and the vases of the Niobid painter and the Villa G iulia painter

Va ses in Ameri ca . (see , p A K figure of a young man , inscribed astor , in the same A o o position as our poll , is engraved on a glass scarab id from i n A Fu rtw an ler s a Spata ttica (not Sparta , as g s) which was A o 1n . 2 . li f rmerly the Evans collection (Pl , 3 F , p it is f or i somewhat later than our stone , the attitude s freer and the modelling less hard . Sceptres topped with a plain knob are less common than D arem b er might b e expected . the instances quoted in g and li e A S a o v . g (s . . sceptrum) do not b ar examination golden sceptre which may be said to be of this type was f ound at Taranto and B M M B M a ta lo ue preserved in the ritish useum ( arshall , . . C g

b e e ler 0 0 . w l . 2 2 2 f 7 y, p 3 , number 7 , fig it is surmounted by ‘g a lass quince surrounded by leaves . n o z The spray , doubt meant for laurel , characteri es the god Kath ars io A ollo s . as (Overbeck , p , p The hawk is associated with Apollo by Aristophanes and o A B o ther writers the references have been collected by . . Co k e s A o on u . (Z , i , p p llo appears with a bird certain coins , o l Collection T sz kiewi cz f or which are cited by Fr ehner n y , example , ’ o B ab elon Tra ite on th se of Themistocles ( , , pl . but where of ou t to n ot the nature the bird can be made , it seems be a hawk

or . 1 1 but a crow raven On the archaistic relief 1 Turin (Schrader , ahreshe te f . 2 2 6 o o 7 f , xvi , pp 3 and ) nly the wing the bird is preserved . On a late archaic CU p in the Villa G iulia (a tiny ’ o f or o B ollettino d A r te reproducti n , useless this purp se , in , x , 1 p . the bird which Apollo ho lds 8 called a raven by Savi n on i g , but the present writer took it to be a hawk , if not an of eagle , on account its hooked beak . The date of the stone cannot be far removed from that of the pedimental sculptures at Olympia . The gem which stands to o o C nearest urs is perhaps the chalcedony scaraboid fr m yprus , H F o New . . with ades and Perseph ne , in York ( , pl 9 , Ours is somewhat harder in style . 0 Between 47 and 46 0 . G R E E K z F R E E S T Y L E 43

R u . 8 1 6 . . . 9 . Bu . O 1 Pl 3 Formerly in the Bo rguignon

F . Co . collection . Bought by Bourguignon in nstantinople , 6 1 pl . , 3 2 .

z . G old ring with engraved be el . The hoop quadrangular

H his Short ground line . ermes , clad in a chlamys , resting : left elbow on an Ionic pillar in his right hand a phiale , in his

. . V u left a kerykeion The hair short and pelleted olutes , echin s , n u fluti g , torus , and plinth of the col mn are all indicated the 1 plinth n perspective . An early example o f what later became a favourite motive in o : on e gems and m other w rks of art instance out of many , the H o F 1 0 erakles on a scarab id in Berlin ( . , pl . , A Hermes in the same attitude and with the same attributes as o is o E r urs engraved on a sard scarab fr m Taranto , of free t uscan L A H . 2 2 style , in the museum at ecce (Pl , ) atched vertical border a hatched border round the sides and the lower edge of the A l . s thorax , two lines between the elytra little dolphin engraved on the thorax : compare the female head engraved on the back of l n M of a sard scarab the British useum , and the head Bes on o l F 0 n . 2 an ther Boston ( , pl , 1s cleitan N It generally considered , that the Poly arcissus and A z 1n the Berlin ma on are among the earliest sculptures the round , in which a pillar forms an integral part of the comp o sition ; but it is not surprising that various collocations of man and pillar had been made by painters long before : s o on archaic red fi u red o Va ses in g vases (amph ra in Petrograd , mentioned in Amer ca l i . 1 1n , p 57 , number ; pelike Copenhagen , mentioned n H M ei ster . 1 i S . L o H . 8 . 2 e 7 xxxvi , p , cup n ond n , artwig, scha len a s s i m rica i n f V e n A e . . , pl . 34 , p 93 , fig the ree ’ on M L period , nearer the date of the statues , a cup in iss amb s H o 1n V S . on collection (7 . . xxxviii , p . 3 5 , fig . an ther the illa G Monumenti dei Lincei on o o iulia ( , xxiv , p . and an en choe in the British Museum (Guide to the E xhibi tion illustra ting Greek a nd R om Li e an . 1 1 2 . f , p , fig aus er held that our ring showed marks of Pelop onnesian stylHe A of bout the middle the fifth century . u I N T A G L I O S

49

1 . . . 1 8 G . . 2 0 G P 3 3 , Pl 3 Bought in 9 from a reek , who D alleged that it came from elphi .

Scaraboid . Yellow jasper , mottled with chalcedony .

G round line . Apollo , naked , moving towards the tripod and extending his right hand over one of the rings his bow in his is left hand . The long hair , which covered with thick , irregular

striations , seems to be plaited behind in transverse plaits , some thing like that of the discobolos on the archaic relief in Athens r b ie s C z Die a ttischen G a rel . A ( on e , f , pl single lock passes in b o front of the ear and falls on the reast . The arrangement ver the brow is hard to make out a wreath is impossible because there is no trace of it behind the ear a metal stephane would o o o o on explain the p inted pr jection in fr nt , but is bjectionable other grounds some such eff ect would be produced by tw o long of of o th e locks hair , one in front each ear , lifted and tied ver s o Fu rtw an ler M eisterwerke der forehead but locks tied ( g , 8—8 1 I r — n ot rie hi chen P lastik . 6 nte mez z i 6 c s . g , pp 7 , and , pp 5 ) are f ound elsewhere in combination with long hair at the back o f

the head . The tripod has leonine feet and stands on a ground line o f its o o own the b wl is r unded , with the upper edge curved , and o the two lateral rings are als in perspective . - to o The thick set , heavy figure brings mind certain early c ins f G T es — — N G . 1 2 6 rom orth reece ( ardner , yp , pl 3 , and 4 ) and the f H on o . o erakles a coin Thebes (ibid , The f rms of thigh , of knee , and calf suggest the sixth century but the upper part o the body is foreshortened with m derate accuracy , and the forms to of it belong a later period . The cutting is deeper and the o modelling br ader than in early stones . The back hair , if rightly o explained above , is dressed in a sixth century fashi n , but the ot ff treatment of it is n contemporary with the coi ure . of A The figure is probably an imitation an earlier pollo , and 0 0 was probably not made before 46 or 45 . An Apollo in a somewhat similar attitude forms part of a Contest f or the Trip od on a sard scarab in the Cabinet des ’ F Fu rtw éin ler s o M . 1 0 o édailles ( , pl . , which sh ws , in g w rds , ’ old - free style with fashioned elements purposely retained . It is possible that our Ap o llo is derived from a representation of m I N T A G L I O S

P or t a ree Archaeo r ts . 8 1 nd k , pl 5 , enlarged Fowler a Wheeler , G lo 1 fi 1 8 gy . p 3 9 . g 3 D Fur an ler ahrbuch etailed discussions of the stone by tw g in 7 , — F ' . 0 1 . 8 A rcheo 2 2 . 1 Revue iii , pp , and , iii , p 3 , and by Evans in lo i ue xxxu — - d b . The A thenian P or rai t H ea g q , pp 3 3 7 5 5 ( t y ’ Dexamenos o hios E van s s f C ) . On identification o f the portrait as C s e F ra hie e . . 1 8 u Griechische Ikono imon , , iii , p 3 , and Berno lli , g p , — . 1 00 i , pp 1 .

Scaraboid . Yellow jasper mottled with red . Line border .

’ A u Portrait head of a bearded man . bove , the artist s signat re ,

A E E A M E No i E F O IE . retrograde , in two lines , Facs imiles of the inscription are given by Furtwangler (7a hr bu h c . 2 0 1 . . . o , iii , p ) and by Evans (loc cit , p Evans n tes that the f orm of the xi is Chiot : but it also occurs on Attic - fi ured red g vases . The second upright of the nu higher than to the first . The upright of the epsilons tends project beyond - z the cross bars . Broad alpha with hori ontal bar .

The lips parted the eyebrows meeting . The beard rendered o o by l ng undulating lines , the hair , which is scanty in fr nt and o of w rn full at the nape , by groups the same , which produce a fleecy eff ect ; the shorter ha1rs on the forepart o f the skull e ngraved on the flat surface of the stone . The eyeball prominent the line marking the exterior side of the iris is nearly straight b the eyebrow is rendered y slanting lines , nearly straight , on f Tw o a ridge the fold o skin above the upper eyelid indicated . z curved lines , in a hori ontal direction , starting at or near the o o of k o anteri r p int the upper lid , mar the upper pr file lashes o o o three , the uppermost faint , fr m the lower lid , the l wer pr file

. of o lashes The rest the lashes , upper and l wer , represented by o o o short lines with a d wnward directi n . F ur very fine sharp f or on th e o f or lines the wrinkles f rehead , three the creases at f o o ee . the back the neck , three thers betw n hair and eye is D ex am en os Since the stone by , it must have been produced within n ot very many decades of the signed scarab o id in Cam F 1 bridge ( . , pl . 4 , which has severe elements and can hardly 0 o be much later than 45 . Our st ne is generally admitted , by f o its to b e o . reason style , not earlier than the Cambridge st ne Within the limits thus s et there has b een some diff erence of

. 0 D lb rueck 0 opinion Evans places it as early as 45 , e about 43 , G R E E K z F R E E S T Y L E 47

Fur an ler H ekler 0 o tw g and between 43 0 and 42 . Precisi n is difficult on account of the scarcity of analogous representations of and the highly personal character the style . E 8— 0 vans (loc . cit . , pp . 34 5 ) pays particular attention to the o f minutely careful presentment the eyelashes , and remarks that a similar r endering of the upper profile and the lower vertical o on D am areteion on lashes is f und the , struck in 479 , and ’ o o on transiti nal c ins of Syracuse , but is less pronounced the ’ o on o f E u ain etos earliest signed c ins , while the earliest tetra o 2 to drachms , struck ab ut 4 5 , the lashes have ceased appear , although there are f aint vestiges o f lower eyelashes on coins signed by Eumenes , and on the decadrachm by the new artist E S ra cusa n M eda llions o o ( vans , y , p . The l wer lashes are als of i 8 indicated in the head Zeus on an Elean co n (Evans , pl . , o but here the upper pr file lashes are lacking , and the exact date o o of the coin is uncertain , alth ugh it is generally placed ab ut 0 o on on e 45 . The upper pr file lashes alone are still indicated ’ f Cim on s d ecadrachm s E S ra sa M eda ions o cu n ll . 2 ( vans , y , pl , therefore after 4 1 3 . A somewhat similar rendering of lower vertical and upper profile lashes is prevalent on Attic vases of ab out 460 to 45 0 Vas in A merica 1 6 iezler Wei ss rundi e es . R (for example , , p “ 3 , g g a t sc e Lek th R H A t i h en . . 6 . 6 . . . 2 y , pl 3 F , ii , p 4 , fig 44 ) , but is o New o also f und later , for instance , on a nuptial lebes in Y rk which cannot be earlier than 43 0 (B ulletin of the Metropoli ta n M useum , xi , p . c These coins and vases , however , supply no ounterpart to the peculiar treatment of the upper lashes , carried over on to the surface of the eye itself s o as to point downwards and not upwards . o o The same , accompanied by upper pr file lashes and l wer vertical on ho lashes , both as in the coins and the vases , a white lekyt s A Riezl r e . . in thens ( , op . cit , pl but this vase cannot be o much earlier than the end of the fifth century . B th sets of ou r on o vertical lashes as in head , an Etruscan mirr r , of still 8 V G E truskische S ie el . 2 later date , in the atican ( erhard , p g , pl 7 , 3) and on an oinochoe of barbaric Campanian style in the British

M B M a lo ue o Va ses . . 2 6 . . Ca t useum (F 5 Walters , g f , iv , p It must be admitted that the treatment of the eye aff o rds n o 0 o conclusive evidence for a date as high as 45 . It should als b e D exam enos remembered that , with his passion for minute finish , might well insert details which the art of his time , with its eye m I N T A G L I O S

o on the wh le rather than the parts , was tending to chasten away o o further , that it is pr bable , fr m his interciliary hairiness , that o o the sitter had pr digi usly thick eyelashes as well , which led the to to o artist to pay Special attention that feature , and pr duce a rendering of it which surprised his contemp oraries and which he himself would not have thought credible before he took the po rtrait in hand . For the present it seems best to date the stone in the third quarter of the fifth century . The existence of strongly individualized portraits at so early a date in G reek history would not have seemed probable from Cres ilaan the Perikles , but might have been divined from the heads of Charon on Attic white lekythoi and from the head of o on o New an elderly warri r the krater , already menti ned , in York B u h r r e i a R . H 6 A s c o G i ch sche V senma erei . l . 2 . (F ii , p 4 , fig 44 , , A o n ot p . n ther portrait head , much later if at all than o on F 1 0 A of urs , a gold ring in Berlin ( . , pl . , third , much on o K Slighter workmanship , a gold ring found in a t mb at ertch A G H S . o . 2 . . . and now in Oxf rd (Pl , 9 Ernest ardner , 7 v , pl 47 , 6) the objects supp osed to have been found with it would allow a fifth - century date ; but Professor R os tovts ev states that the app ortionment of the objects from Kertch in Oxford rests on highly untrustworthy information . The rough scaraboid , number 1 o o to of 5 in the present c llecti n , also seems have the character o a p rtrait . Evans makes the attractive suggestion , that such as o portrait gems urs , preserved as family treasures , may have sometimes been consulted by later G reek sculptors f or their of - presentations long dead worthies . This may be thought an appropriate place to put together o b D exam en os th se stones which stand a fair chance of eing by . Th e o Fu rtw an ler ascripti ns have all been made by g , with the exception of the Bowdoin stone but n ot all his ascriptions have been included . Chalcedony scaraboids

o G A . Cambridge , fr m reece . seated woman and her maid F 1 1 Signed . . , pl . 4 , . P etro r d . a K . g , from ertch . Flying heron . Signed Pl B , 3 P pl 1 ’ ’ H H o . . o e . G . Lewes us , probably from reece er n Pl 5 L H M u H . . ewes o se , from essenia . orse Pl 4 C 1 d M 1 . e F . s . . abinet édailles . Bolting horse , pl 4 , 5 G R E E K z F R E E S T Y L E 49

Scarab oids of yellow jasper mottled with red H o o R . Petr grad , from South ussia er n and grasshopper . ' A rcheolo i ue 8 R evue 1 8 8 . Signed . Evans , g q , xxxii , 9 , pl , 1 3 F . iii , p . 3 7 .

H A . . Lewes ouse , from ttica Portrait head . Signed 1 P 3 . G rifli n F K . . . Petrograd , from ertch attacking horse , p 1 Rock - crystal scaraboid

Mr G . s . o C ckerell , from reece Seated woman playing the

F 1 2 0 . harp . . , pl . 4 , Sardonyx scarab : F 1 M . . . 2 . British useum . Flying goose , pl 4 , Barrel of banded agate l s e P e u 66 . C H . . Bowdoin ollege . eron B , 4 n mber

5 1 G 1 1 1 . . 2 . . . P 34 , 4 Pl 3 From the Boulton collection , 9

(sale catalogue number 4 , C u Scaraboid . lo dy sapphirine chalcedony , discoloured at the back . ’

L . A . ine border . woman s head Sakkos , plain necklace A of pparently a portrait , but the roughness the work makes this 13 to rather uncertain . The mark near the neck in the imprint due damage in the stone . Probably late fifth century

5 2

R o 60 2 . . . G . . 2 2 . . 2 . . P 44 , 9 Bu O 3 Pl 3 Bought fr m - F 1 R 1 0 1 . . . C N o . 2 2 harles ewt n obinson in 9 , pl , 3 A Scarab . Sard . chip has destroyed part of the eye and

o . f rehead , another the lower part of the head behind the ear

No The beetle careful . Slightly ridged towards the hump . A winglets or vertical border . hatched border all round the two thorax . The elytra separated by lines which curve apart before they reach the border of the thorax two short lines start from these near the top and meet at the thoracic border . H f of ead o a negress . She wears a headdress consisting an ample kerchief wound tightly round the head turban -wise the 2 23 1 I$ 5 0 I N T A G L I O S tip of the securing end visible ; the frizzled hair showing in front and behind . Pendant earring in the general form of a lotus N bud terminating in a pellet . ecklace of pellets , representing beads , with a pendant in front , part of which is now missing .

The Venus rings indicated . dr chm s K o deca a . Warm , rich modelling , recalling the of im n

End of the fifth century .

53

G u 1 02 . . . 2 . . . P 72 , 5 Pl 3 Bo ght from Lambros in 9 z G old ring with engraved be el . The hoop nearly circular .

E rotostas ia : A tw o Short ground line . phrodite weighing o Er tes a third E ros at her feet . She stands with her right leg o low — fr ntal and bent at the knee . Ionic chiton , necked , bordered o tw o ab ve by lines dotted himation , in which the left arm is concealed . The attitude of the minute Erotes on the scales is not easy to establish the left - hand on e seems to be sitting with his right o e le shin fr ntal , his right thigh foreshortened away , and his l ft g doubled and in profile : the right - hand one nearly frontal and on k on A k hands and knees , something li e the Eros an ttic peli e R All of the fourth century in Petrograd (F . . , pl . three have the long thin wings which came into fashion in the third quarter of the fifth century . A o C similar representati n , on a ampanian hydria in London , ’ M o o Stu dn iczka has been published , after ansell s ph t graph , by ahrbu h - c . o (7 , xxvi , p The vase painting Sh ws that the con cealed arm of our Aphrodite is resting on her hip and holding f o up the gathered olds of her himati n . So also on a gold ring o M fr m Syracuse in the British useum with a female figure , o to A sh wn be phrodite by the dove which flies to her , and Eros k eelin at B M Fin er Rin s her feet , busy with her sandal ( . . g g , p2 g p , 5 ) A o E rotostasia on a A n ther , a kr ter in thens , is mentioned by Nicole in his supplement to the Ca ta logue des vases peints du ’ ’ Musee Na tiona l d A thé nes 6 b 1 1 0 . . 2 , p 4 , num er 5 Subjects like ours have been collected and discussed by dniczka Stu . . 1 (loc cit , pp . 39

Later fifth century . G R E E K z F R E E S T Y L E 5 1

54

G . . 2 1 . Pl . . o A 1 0 P 97, 4 B ught in thens , 9 3 . G z . o r old ring with engraved be el The ho p quadrangula .

A o rider striking with a lance at a spotted fall w deer . The ’ is o f of deer als attacked by a hound in ront the horse s head ,

of . o a flying bird prey The rider wears a short chit n , girdled , ’ : o and a chlamys hair and chlamys bl wn back . The horse s o on mane rendered by sh rt strokes a ridge , with a longer fore o a V— l ck the lines on the t il arranged wise .

The rider seems , from the breast , to be female : if s o , the tw A z choice lies be een an ma on and a heroine , for Artemis does on not ride horseback . Stephani gives tw o instances of Artemis o on om te re d — n u 1 860 . th e m unted a horse (C p , , pp 45 9) but on A - or e x A figure the ttic bell krater is Selene rath r Ny , not rtemis , Ph erai H G B M oins and that on the coins of ecate (Percy ardner , . C O Thessa l — f y . pp 47 9)

End of the fifth century .

55

. 0 Pl . . A F . . . . 6 . Bu 7 4 Bought in thens , pl 5 , 4 C Scaraboid . halcedony .

G A - round line . two horse chariot wheeling round the a l r h 1ot r Fu rtw n e . c ar ee action is described by g (ii , p The h as is beardless , and shortish hair with free striations the lower his i part of long chiton s blown back . The horses are of the same general type as those on the coins of Syracuse from the later o fifth century onwards small heads with hogged manes , p werful o cylindrical bodies , solid hindquarters . Ours are somewhat l nger H : in the barrel , possibly owing to the shape of the stone . o ses 0 of similar breed on a chalcedony scaraboid in the C ab rnet des M F . édailles ( , pl . 9 , The manes are rendered by short strokes set on a r1dge and o pr jecting a little beyond it . of is ers ect1ve The head the hither horse in p p , the upper part o of off being more pr minent than the lower , and the orbit the ’ o l n eye visible . This foreshortening f the horse s head occurred of Micon ian f or o A zo painting the period , it is f und on the ma n k o R ll rater in Bol gna (F . . , p . 75 but it was probably not used i n E chelos relref l A sculptured relief till rather later . The n thens p I N T A G L I O S

e 6 tes Winckelmanns ro ra mm K . has it ( ekul , 5 p g , pl but not the

f . . K e B erlin relie of like subject (ibid , pl which ekul considers somewhat earlier than the other and nearly contemporary with z on the Parthenon frie e . It appears Syracusan and Tarentine o th e of H orsemen o Ta ren coins t wards end the century (Evans , f

tum . 2 o , pl , and probably , less pr nounced , on an earlier gem D ex amen os than ours , the scaraboid in Petrograd attributed to

F . 1 ( . , pl 4, h 1th er h as o l1fted wh 1le The horse all f ur feet and advanced , the off horse has its hind legs thrown back with its hind feet o n d ecadrachm s K o the ground . This motive occurs on by im n and s E S ra cusan Medallions ll 8— o on E u ain eto . ( vans , y , p 9) and als subsequent Syracusan issues , but not apparently earlier . This would suggest that ou r stone is not o lder than 4 1 3 considering - refi n em ent its over , it might be a decade or two later .

56

R 1 6 . 1 E 8 . . 2 2 . . . . B . 7 , 3 Bu O Pl 4 Said to be from L o 1 8 8 F 6 M . . . . . Asia inor Bought in ond n , 9 , pl 4 , 5 A Scaraboid . methystine chalcedony .

on The child Eros seated the ground playing with a goose , o which lifts its wings . Bel w , a pair of knucklebones , with which he was playing until the goose came to look . Eros has Short hair an amulet is slung round his shoulder on a string . The u sole of the right foot is visible , but the artist has not vent red to foreshorten the lower leg away . A o somewhat similar Er s , more compactly rendered , on the P ill f h r os F . 1 K o sard signed by yg ( , pl . 4 , indred studies on o B M F 1 0 child life a sard c noid in the ritish useum ( . , pl . , F o o . . 6 1 on a c nvex sard ( , pl , and on a sard pendant , fr m M F A to A . . 1 thens , in the British useum ( , pl 3 , on ttic y o o in choai and in the marble statuette of a girl with a duck , from F o urtw an ler Collection S a bour . Tanagra , in Berlin ( g , fl, i , pl 3 For of o o the sole the foot , c mpare the convex stone menti ned o o H G ab ve , and a Theban c in with the infant erakles ( ardner , 1 T es . yp , p 7 , 0 E l S la l n W 1th z rell ef ros p y g a goose on a bron e repoussé , of G o B M b reek w rk , in the ritish useum (num er o r End of the fifth century beginning of the fourth .

I N T A G L I O S

59

G . 1 . . . 1 0 . P . 3 3 , 5 Pl 3 Bought in Sicily , 9 7 z o Bronze ring with engraved be el . The h op Slightly ridged inside . The surface corroded .

do - is G round line . Eros g bodied . The combination cen sa o tauric , that is to y, the creature has two pairs of Sh ulders ; but the bestial part seems canine rather than equ ine leonine is o o p ssible , for ancient representations of li ns were often modelled on S ch rb der to B - 6 1 the dog ( , text runn Bruckmann , numbers 4 That the upper part is a demi - E ro s is shown by the wings in conjunction with the plump childish body . The action is difficult to interpret owing to the condition of : the ring both arms are extended , the right hand apparently bent down with the fingers together as if sprinkling or the like there seems to be a tall slender object under the left hand , but the corrosion makes certainty impossible . A kindred figure on a convex sard formerly in the Evans F 66 o collection ( . , pl . , 3 ) here the creature h lds a stick , and : u rtwéi n ler wears wrap , pilos , and sword F g recalls the bearded daemon on a sard which was once in the Morrison collection F 1 0 ( . , pl . , The canine Eros might seem to be a symbol of love without shame ; but the attributes on the Evans stone make such an

interpretation of ours improbable .

Fourth century . 6 0

R 0 R o o o . . . wh 7 Bought from W T . eady , wr te as f llows Th e o w as o D o A b o st ne b ught at amanh ur , and the ra fr m whom it was b ought said that it was found at this same place a few ’ ’ o R o days bef re my client s visit there . eady v uched for the o o f o o absolute straightf rwardness his client , wh se c llection was o f h e A F 1 n ot or t . . 6 . m reover mainly Egyptian but rab . , pl 34 A on Scaraboid . Sapphirine chalcedony . big chip missing

the left of the engraving . ’ — ’ o . r 6 . A rs Amato ia . C itus See Ovid s , iii 775 The man s hair o f o . o is sh rt , with ree striati ns The w man wears a necklace ,

rendered by pellets , a bracelet , a circular earring , thin shoes , and a kerchief wound round the head with the hair escaping at the G R E E K z F R E E S T Y L E 5 5

forehead and at the crown . Pellets for the hair , except in front

of the ears . Kindred motives in the Hellenistic clay relief found at Perga mon and published by Siegfried Loeschke in A thenische Mi t teilun en 0 o z g , xxxvii , pl . 3 , 4 and on an incised br n e mirror , of - fine early fourth century style , in the museum at Boston (Six , a hrbu h — c 6 6 fi s . . 1 6 7 , xx , pp 5 , g 5 and Compare also number 3

. t Earlier fourth century Probably Ionian for the s yle , com

u F . 1 1 as 6 0 . 0 pare s ch stones , pl . 3 , and pl 4 , 3 .

6 1

8 1 . Bu 0 Pl . z R . z o 5 . O 3 . 4 . From the Tys kiewic collecti n . Tyszkiewicz said that he obtained it from G reece it is further so l Collection T sz kiewi cz Rhou ou os . known that he had it from p y , 1 F . 2 . . 2 1 1 1 . pl 4 , 4 , pl ,

Sard , slightly convex . The lower part missing .

H of or f G . sow atched b de . round line Theseus and the K r m m o on . y The young hero , naked , his petasos slung behind s of s ow his neck , pres es his left knee on the back the , while his o i H e to o right f ot s on the ground . appears be passing a no se s o of It about the w ; but the details the action are obscure . seems clear that Theseus has slipped the cord round his body like - - of - o the end man in a tug war , and that he has als attached the sa o upper part of the cord to , y, the trunk of a tree for the c rd is m odellin o seen under the right arm , following the of the b dy , of and again , drawn taut , to the left the petasos . he lower part ’ of the cord is held in the right hand below the sow s mane it presents the appearance of a fork with three prongs which cease

o no o . at the bristles of the ear . Bel w this the cord l nger appears

- — Short hair in demi crescent shaped curls .

Fourth century , hardly earlier than the middle .

6 2

B B R 1 0 . . 0 . . . . 6 1 0 . . 3 , 5 3 3 Bu 3 3 Pl 3 , and , enlarged , PI o o Rhouso oulos 1 itz D . . 0 . From G ran a in oris B ught fr m p 1 8 F 8 . . in 9 . , pl

D o . iscoloured sard , now yell w slightly convex

A Sh e G C . round line . assandra clasping the image of thena H r s . e has just reached the image garment , snatched up in ha te , w I N T A G L I O S

to o has fallen on her legs , and she is trying to fling it r und her f oo o k H er . A again . rippling hair alls l se d wn her bac bracelet on the left wrist . The archaistic statue wears a tight chiton , and an Ionic himation passing over the left Shoulder and peaked at its e o o o to lower edg g rg nei n on the breast , so faint as be barely distinguishable crested helmet with three locks of hair escaping under the neck - piece bracelet shield on the arm spear passing behind the head instead of in front , the artist having been unwilling to let it cross the face . The statue stands on o t a base of two degrees , the upper one round or oval , surm un ed by a thin slab which projects on either side of the upper degree . A - Cassandra with body half bared like ours , but without the motive of the hand holding the drapery , on a Campanian hydria M A r d o isc e ei tun 1 8 8 1 ch lo h . in the British useum ( g Z g , 4 , pl 4 , Fourth century Q

P 8 1 1 1 G G . . . 2 . . 3 3 , Pl 4 Bought in 9 from a reek who z said it came from Tripolit a in Peloponnese .

D o . on Scaraboid . iscol ured chalcedony Engraved both sides .

o o On the flat : gr und line ; coitus . On the c nvex : an eagle on e standing a thund rbolt . o o of The hair of the youth hatched , combed f rward in fr nt : o k the ear , and backwards behind it the l wer edge , bac and ’ f o o o ront , pelleted . The w man s hair is w rn in a l ng pigtail , o ending in a pellet , d wn her back ; the pigtail faintly striated , of of the rest the hair faintly hatched , with a row pellets on the forehead . She wears thin shoes . of G - The technique resembles that reco Persian stones , and G e o - the pigtail points to the same quarter . There is a r c Persian stone with the same kind of subject in the Cabinet des Médailles F . . 1 2 1 ( , pl , 5 The eagle o f Zeus standing on th e thunderbolt does n ot seem o of A is n o to to occur bef re the time lexander . There reason supp ose that the engraving on the back of ou r stone is n ot by o o o f or the same hand as that on the fr nt , th ugh such cases ccur , o o D uffield o instance , in a chalced ny scarab id in Oxford ( Osb rne , E n raved Gems 8 0 th e A o . 2 . 2 2 g , pl , and pl , where phr dite of o - o k th e of I on the flat is late f urth century w r , while heads sis S ara is on o o of and p the c nvex are an additi n imperial date . The date of our stone will be the later part of the fourth century . G R E E K z F R E E S T Y L E 57

Scaraboids engraved on both sides are rare . One of the fifth - is Furtw an l er earliest , a century piece , a sard in Berlin ( g , B e chreib s un . o g , pl 4 , in which the sides also are dec rated . A o of a fifth - K n ther , bl ck stone , found in a century grave at ertch , Fu r an l r 1 8 tw e . 2 is described by g (iii , p ) and figured by Stephani Com te rend 1 u 8 . o ( p , 77 , pl 3 , 7 and the c nvex subject is A M . n ow Ne F . 1 w . 2 Persian sard from acedonia , in York ( , pl , 8— . o on on e 3 9 , and ii , p resembles urs in having a bird side on th e and a feminine scene the other , and style suggests the A o o D u ffi eld o . 6 same region chalced ny in Bost n ( Osb rne , pl . , 1 G o - A o 9) is rec Persian . yellow st ne , apparently a discoloured M B M Ca ta lo ue chalcedony , in the British useum ( . . g , pl . B , u G is perhaps the earliest of all , but is hardly p re reek .

64

l ed B P . u . O 44 . . 4 Stat by Froehner to have been found G z z in reece . From the Tys kiewic collection (sale catalogue , Collection T sz ki wi u e cz . 8 F . 1 6 2 1 2 . n mber y , pl 4 , , pl . ,

Scaraboid . Banded agate .

G o A z . r und line . ebu walking In front of him a hoop shaped mark . Froehner interprets this as the Phoenician symbol 1 0 difli cu lt s ee for the figure , but it is to the object of inscribing 0 Mr H 1 on a gem . ill points out that the mark resembles the o ko Cypri te symbol for . A bull of very similar build and style on a sard scarab oid G 8 Fu rt an l r F . . w e from reece in Berlin ( , pl , g classes the z G o - G ebu as rec Persian , and the bull as reek but no oriental o o traits are discernible in either . Even if the ho p were a Ph e i i n o n c a . symbol , it w uld not constitute a stylistic orientalism The vertical marking on the hind - quarter might be considered i s old G . Persian , but it an reek as well as a Persian convention A plunging bull of kindred though coarser style on a scaraboid f o o . in the possession C mm . Fausto Benedetti The z ebu engraved on the convex surface of a chalcedony oo o o B ur lin ton a ta lo ue scaraboid in the Wyndham C k c llecti n ( g C g , a lo ue 1 1 6 W ndham ook a t . . 2 C pl , O 9 y C g , pl 3 , 57) is said by Fu rtw an gler to be the o ldest representation of the animal in

G . . reek art Our stone , however , is distinctly earlier

Second half of the fifth century . I a I N T A G L I O S

n

1 8 . 0 . . . u R . 1 0 1 . . 86 . B . B . 3 Bu 45 Pl 5 Bo ght about 95

F . . o o of . . F rmerly in the p ssession a priest at Taranto , pl 7 , 5 9

Sliced barrel . Banded agate for the shape and material , see number 77 .

A lioness crouching f or the spring . The mouth open with o teeth and tongu e showing the n se puckered . The mane in lanceolation s o sh rt lines , representing bristly hair , all along the back a tuft behind the elbow . Lionesses are maneless Rossbach therefore suggests (in

- i mmen . 1 0 W o a s . v e s s w . G Pauly , , p 77) that what seems to be a mane in our lioness is only the fur rufli ed in anger . But if o o the artist had intended to represent this , he w uld have ch sen some other rendering : what we see is indistinguishable from n o on e o a mane , and indeed , but for the dugs , w uld suppose the to o animal be female . The artist had pr bably never seen the animal he depicts his lion is essentially the old heraldic lion of 2 2 the archaic stones numbers and 34 , uncorrupted by studies o A o fr m nature . li ness with a mane like ours on a scaraboid of z o o o lapis la uli f rmerly in the B ulton collecti n . The short bristle - lines along the back have already been

u 2 2 . remarked in the archaic lions from Cyprus , n mbers and 34 F 8 They also appear on a scarab from Pergamon ( . , pl . , the F 1 0 e scarab . , pl . , 5 9 , a scarab from South Italy in the Cabin t M ollection P a uver t de la ha elle C . des édailles (C p , pl 5 , o o M M er B . Fin a scarab id fr m Cyprus in the British useum ( . g Rin s . 8 o G o g , pl , a scarab fr m ela in the c llection of Sir A F . 6 rthur Evans ( , pl . , and a small scarab which was f o Ro r o rmerly in the ger de Siv y collecti n . Further , on coins of ’ z B ab elon Trai te 1 6 Am athu s B M oins . C Cy icus ( , , pl 7 , of ( . . ’ o C r 11 us . 1 K B a elo Tra i t b n e . 1 0 f yp , p and of ition ( , , pl 3 , of Akan th os G T es 1 ff and ( ardner , yp , pl . 3 , 3 ) also in the gri in on o f B M oins o I onia 0 on certain coins Teos ( . . C f , pl . 3 , 7) an o of M Etruscan mirr r , early Ionian style , in the Cabinet des édailles G E truskische S p ie el on E - o ( erhard , g , pl . and an trusco I nian r i ora of s o - M p , the called Pontic style , at Corneto (phot . oscioni , gg4gi e - From the instanc s given , the short bristle lines would seem to be an Ionian characteristic and a mark of comparatively early G R E E K z F R E E S T Y L E 59

- date in sculpture , however , the back mane h as a wider extension 1 both in t me and m locality . o o f Sec nd half the fifth century .

66 B B . . 1 6 0 . . 6 . . I P . 1 0 3 , 3 Bu O 7 Pl 5 , and , enlarged , .

A 1 00 F . . . 6 . 2 2 8 Ne e Bought in thens , 9 , iii , p 44 , fig Bulle , u ahrbii cher 1 1 00 . 2 0 . 7 , 9 , pl ,

o C o . Scarab id . halced ny L A G . . on ine border round line heron standing one leg . A D exam en os ssigned to , with great plausibility , by Furt o wangler , on account of its resemblance to the heron st nes with o : o o o R his Signature in Petr grad the scarab id fr m S uth ussia , ’ o f R evue A rcheolo i ue yellow jasper mottled with red (Evans , g q , x F 8 . . xx ii pl . , 3 , reversed , and , iii , p and the h al edon c o K . . 8 1 y scaraboid fr m ertch (Evans , loc cit , pl . , , and ‘ g l 1 v p 4 , A replica of our heron , less fine , on a barrel , not sliced , of o o o Mr banded agate , presented to B wd in C llege by . Warren

. o o o (Pl B , The Bowd in her n might be a Slighter w rk by the of o o o o f n ot artist urs , alth ugh the j ints the legs are rendered in ff on the same way . The same design , by di erent hands , a Sliced F A . 1 barrel of banded agate , from thens , in Berlin ( , pl . 4 , o f and on a Sliced cylinder the same material in Boston , which

F . 2 t o G . w likewise came from reece ( , pl 9 , 9) also on rougher o scaraboids , one of chalcedony , fr m the Peloponnese , in Berlin

F . of S outh . 1 o esk ( , pl 4 , the ther , mottled jasper , in the

S o thesk a ta lo ue . 2 . A 2 u collection (Pl , 7 ; C g , pl , B All f or these birds have been taken here herons , though some of o them have been called cranes or even st rks . Ours and the B owdoin bird are beyond doubt herons the Boston bird and its Berlin companion have n o aigrette on the head and no plume on the breast the S ou th esk bird and its fellow in Berlin have

o o . the aigrette , but are l nger in the neck than the thers The aigrette is n ot essential for an ép uSS‘ : D ionysius says (de ’ A vibus 11 1 8 o D Arc o Glossa r o Greek , , p . , qu ted by y Th mson , y f , ' ' ’ y - B irds s v a rr w a irraiv ew v ia m i 7 029 uev 013K eor rw 5712 17 9 , . . ) y ; p p , 7 ’ ‘ Ke fia A n ltbxa o dAAoc 83 oiovre TLS bm v or dn cb r a z. q fig u g, g p B p x y pn Th e b e heron , and birds which may mistaken for it , are frequently found on gems of the later fifth and the fourth cen 60 I N T A G L I O S i A tur es . heron , with aigrette , preening itself , on a fragmentary scaraboid of rock - crystal in Oxfo rd a chalcedony scarabo id of ’ ’ A n ti ui tes da B os hore cimmerien the same type in Petrograd ( q p , 8 o o r . 1 2A pl , ) a standing her n crane , with aigrette , on a sliced ’

Mr . o o . barrel of banded agate , in Warren s p ssessi n (Pl B , o of o n ot to k of the uncommon elongati n the st ne , spea its style , o would seem to place it in the fourth century . T the same period belongs the chalcedony scaraboid from the Forman and - Ro o n ow M B ur lin Newton binson collecti ns , which is in unich ( g e - R 1 8 N wton obinson a ta lo ue . ton Ca ta lo ue . 1 1 0 g , pl , O 3 C g , pl , b ow 1 Mitnchener ahrbuch . 5 7 , v , pl B , 7) with a bird drawing a o p ssibly a crane rather than a heron , the aigrette being very o o o o short . Pr bably s mewhat earlier , a chalcedony scarab id , fr m M F C am eiros . . 1 1 , in the British useum ( , pl , with a bird ’ feeding a red - deer s antler is substituted f or the aigrette to fill o the space ab ve the head the bird may well be a heron . Three stones may perhaps be grouped together : the sard scarab oid Ne o F 8— K o M w . . 1 2 from ast ria in acedonia , now in Y rk ( , pl , 3 9 , 6 0 k z M Mitnchener a hrbuch and ii , p . ) the pin quart in unich ( 7 ,

. 2 1 o iv , pl , 4) and the chalcedony scaraboid , fr m Ithome , in F 6 1 B o o . st n ( , pl . , There remain the sard scarab in the

M . 1 2 6 : Cabinet des édailles (F pl , 4 perhaps a crane) , the chalcedony cube in the Wyndham Cook collection (B urling ton 1 nd a k a lo ue . 1 W h m oo t o ue a ta 2 C a l . C g , pl , O 95 y C g , pl 3 , o of Ne o w . and a rectangular st ne , banded agate , in Y rk Rossbach thinks that the p opularity of the crane with gem engravers is du e to its usefulness as a weather prophet (in Pauly

Wi s s v Gemmen . 1 s ow a . . , , p The heron was similarly esteemed K Die a ntike Ti erwelt M . 2 0 o ( eller , , ii , pp 5 ore ver , it was ' A o o o R A rcheolo i evue ue 1 8 . sacred to phr dite (C llign n , g q , 75 , p But the real reason f or the appearance of the h e ro n and similar o en birds is that they were d mestic pets , cherished by the ’ o graver s patr ns , and admired and studied by the engraver . That they should be rare on gems b efo re the middle of the fifth to o century , may be due the increasing interest in w man and ’ f of o woman s li e , which is a feature that and the subsequent peri d s ee - o o f Ca ta lo ue des a ses da ( the well ch sen remarks Pottier , g V ’ Louvre 1 0 1 , pp . 4 The birds were naturally the woman s ’ 111 S S h e fam ars rather than the man s , ince stayed at home and it is in scenes from the home life of women that they chiefly

u . h occ r on vases So , for example , on the Lecce pelike wit

6 2 I N T A G L I O S

o A f or o e . Hatched b rder . thin hatched band the gr und lin A - B o off - race horse walking , with broken reins . th legs advanced on on in a correct walking attitude . Creases the breast , the

- e e o of o . elbow , b hind the lb w , and near the top the right f re leg

The ribs very faintly indicated . The mane striated , the ends of the striations being on the flat surface of the stone longer on o on the shoulder than the neck . The tail l ng , and rendered b V th e y long undulating lines . eins indicated on the belly and - o - hind legs . The eye large the head nerv us . The hind quarters A - o n ot extraordinarily delicate . high bred riding h rse and a

- chariot racer . English judges pronounce it herring gutted and

rather long in the back .

F O TA NE A . Inscription , in large letters , above , ; below , The o f omicron a trifle smaller than the rest the letters . The first o of r str ke the pi cu ves slightly inwards . The first and third n ot o - strokes of pi and nu are parallel . The cr ss bar of the tau o o o comparatively short . The nu blique the first str ke the l ngest .

o o zo . The alphas br ad , especially the sec nd ; the bar hori ntal The cross - strokes of th e epsilon at right angles to the vertical o o o str ke , which pr jects a little above them . The inscripti n would ’ to seem be the genitive of the owner s name , but the name Potan eas is unexampled . Fu rt an l r w g e compares the horses on tw o other scarab oids . One of the tw o was found at Kertch and is n ow in Petrograd F 1 o o ( . , pl . 4 , the h rse has flung his rider and is b lting o o th e o o t wards the p st the material is same yell w jasper , m ttled D ex am en os f or t o o f o with red , which used w his f ur signed o To o th e st nes (see number judge fr m the reproduction , o b e horse is very like urs and might by the same hand . o o o d es The ther scarab id , of chalced ny , is in the Cabinet M F . 1 k édailles ( , pl . 3 , and represents a horse attac ed by fi H . o o a grif n ere als the resemblance is great , and the st ne is

quite possibly by the same artist as ours . Furtw an ler o n ot D exam en os g c nsiders that our stone if by , i s by a greater master of the same time and group The lettering o n ot o o to D ex am en os w uld c nflict with the ascripti n . H o o o : e on o of atched gr und lines are unc mm n earli r , c ins K elerrd eris B M Coins o L sauria a nd i i . caoni a I l cia ( . f y , , C , pl . 9 , 2 ancl 3 i

Second half, and perhaps third quarter , of the fifth century . G R E E K : F R E E S T Y L E 63

68 G . . 1 8 2 . 2 . 0 Pl 2 . . . 7 , 3 _ A 1 0 1 P Bu 7 5 Bought in thens , 9 .

. e Scaraboid Chalc dony , bleached . H . A z atched border ha el nut . Realistic representations of vegetable life are known to be an t1 uit A extremely rare ln q y . nature study s o happy and S 0 ff t una ec ed is most readily intelligible in a period n ot very far o of D ex am en o rem ved from that s .

Probably later fifth century .

Pl . 4 .

Scaraboid . Streaked sard . A . u Line border m le walking . strokes mane

and the hair on the tail .

Later fifth century . 70 G . 8 1 Pl A . 1 1 1 P 3 3 , . . 5 . Bought in thens , 9 .

. C Scaraboid halcedony .

H G s of atched border . round line ; the urface the exergue A tw o o slopes in towards the border . wild sow with y ung . The mane terminates on the shoulder with a regular curve a row of

short bristles follows then the long bristles of the rump . This rendering of the mane and back - bristles may be considered a development of that which Fu rtw an gler maintained to b e d und von Vetter elde o Gol . 2 characteristically I nian ( f f , pp 3 but A which also occurs on ttic vases , for instance , on an archaic red fi ured H Meisterschulen g cup in the Louvre ( artwig , , pl . 3 , A o treatment resembling that on our st ne , but with the termina tion of the rump - bristles not convex to the short hairs but concave D o in the earlier manner , on the Theseus cup by uris in the British Museum this detail is n ot given co rrectly in G erhard ’ A userlese bz M o 6 1 ne Va sen lder 2 . , pl . 34 see ansell s phot graph 7 A sard scarab with the same subject , of rather earlier style , 1 F an ler F 6 o . 0 urtw is figured in . , pl . 7 , 3 in his hist ry (iii , p 5 ) g o o mentions ther wild s ws , mostly earlier than ours .

Second half of the fifth century . m I N T A G L I O S

7 1

R 1 1 . G . . . u . . . P . 349 , 5 Pl 5 Bo ght from W T eady in 9 3 C Cylinder . halcedony .

- A boar walking . The hair between mane and rump bristles

forms a thick striated roll . s ow Somewhat similar , but probably earlier , a wild on a sard 6 6 W ndha m o o F . . scarab in the Wyndham Co k collecti n ( , pl 3 , y k a ta lo ue of Coo C . 2 g , pl 2 , 9) less like , a boar on a scaraboid

M . discoloured chalcedony in the useum at Lecce (Pl B , Other stones with representations of b oars are mentioned by M Furtw an ler M B . . g add the sardonyx scarab figured by arshall , Fin er Rin s 1 0 6 G o s et g g , pl . , 34 , a reek st ne in a much later

Etruscan ring and a sardonyx scarab of similar style in Oxford . r Late fifth centu y .

72 R . 1 6 B B . 5 , 4 . Bu . O 75 . Pl . 5 . Bought from W . T . eady 1 8 in 99 . C Scaraboid , cut . halcedony . H G H . A o . atched border round line . g at walking air

indicated on breast and buttocks . A o - lm st contemporary , the walking goat on a rock crystal ’ ’ o M A 8 Collection d un archeo . 2 scarab id in the British useum (Pl ,

lo ue ex lora teur . 2 o g p , pl , Later and br ader in treatment , a grandly free and spirited goat on another scaraboid of the same o material in the same c llection (Pl . B , The goats on the Ain os Nomisma 11 - u coins of ( , iv , p . 4 5) are of sto ter build . L ater fifth century .

73

G A 1 1 2 . . P . 347 , 5 . Pl . 5 . Bought in thens about 9 A Scaraboid . gate .

G A r' n o round line . goat standing . In the field , , doubt ’ o f o of the initial letter the wner s name . The goat is heavier 2 o build than in number 7 , and is pr bably of somewhat later date .

Late fifth century . G R E E K : F R E E S T Y L E 65

74

PI 1 0 . collec Pl . 5 , and , enlarged , . Formerly in the Boulton 2 tion (part of number 4 in the sale catalogue) , but not bought 1 1 till 9 7 . n o Sard , doubt a cut scaraboid . G A round line . fallow deer browsing .

A replica on a cut scaraboid of pale brown sard in Berlin

. 1 1 o o o F pl 4 , 3 ) cl sely similar , a pale g lden sard in Bost n , (orm erl M o A 0 o y in the orris n collection (Pl . , 3 ) similar als , but o r ugher , a sapphirine chalcedony which was at one time in the A 8 A . to D r . thenian market (Pl B , ) a stone which belonged rndt in 1 905 both presumably scaraboids a discoloured scaraboid o o Com te rendu in Oxf rd and a discoloured st ne in Petrograd ( p , 1 86 o . 5 , pl . 3 , See also number 75 in the present c llection L ate fifth century . 75

G 6 0 . . 2 . . PI 1 . P 3 3 , Pl 5 , and , enlarged , . Bought from G 1 a reek in 909 .

- R . Scaraboid . ock crystal

G o round line , mostly c vered by the representation of the h as out to terrain . The lower part of the stone been routed A o produce the appearance of a grassy lawn . fall w deer browsing he is ab out to nibble one of the plants which grow round him .

See number 74 the present deer is shorter in the body . o For the terrain c ncealing most of the ground line , compare o G ffi the chalced ny scaraboid , from reece , in Boston , with a gri n F 1 attacking a fallow deer ( . , pl . 3 ,

Late fifth century . 76

0 . . . R 1 1 . . 6 6 . . 2 . 2 B B . 5 , 9 3 Bu 43 Pl 4 Sent from o szkiewicz Constantinople according to Fro ehner . Fr m the Ty collection (sale catalogue number

o . Scarab id . Black agate streaked with grey

- His i o A . s Line b rder . bull calf head lowered and his tail

3 little raised as if he were slightly aggressive . 2 23 1 K 66 I N T A G L I O S

o ff o n Calves of rougher w rkmanship , and in di erent attitudes ,

o L i n B o . chalcedony scarab ids in ecce , owdoin C llege (Pl B , B F 1 1 and in erlin ( . , pl . , r Late fifth centu y .

77

G . . 1 02 . 6 1 1 . . . 2 0 P 5 , . Bu . O 7 Pl 5 Bought in 9

B k . Sliced barrel . anded agate , black strea ed with grey A sandal seen from above . The subject possibly suggested by of o the shape the st ne . A on a o similar sandal , with an insect beside it , a ch lced ny o G scarab id which was once in erman private hands . The vogue of the Sliced barrel in G reek lands seems to have been a brief on e most of the G reek examples must be dated to the second half of the fifth century the latest are probably n ot . o of much lder than the early years the fourth . The stone given PI f i . 2 o o S o ts in B , stands apart fr m ther liced barrels by reason o to e el ngated shape . The earliest Sliced barrel appears be B rlin F 1 . 1 0 o o 3 3 ( , pl . , which is still archaic . Far the c mm nest G material is banded agate other stones are very rare . The reek eye must have considered the material appropriate to the Shape .

78 G 8 PI . . 2 . . . 1 1 P 3 , 7 4 Bought in 9 1 . o Scarab id . Sard . H A atched border . coiled snake raising its head . The mouth o o cl sed with the t ngue extended . L ater fifth , or fourth century

79

B B — . . 1 1 6 1 8 8 . . R o 3 , Bu . O 3 . Pl . 4 . Bought in uv , 9 9 o o E S ra cusa n Meda llions This is the st ne menti ned by vans , y ,

. 1 2 0 o e 86 roll Numis p , n t , and after him by Sambon in Co a ma ti ca . 2 . , p 79

Scaraboid , cut . Sapphirine chalcedony . G R E E K : F R E E S T Y L E 6 7

G o ff o - A . o . r und line . plunging bull The f re leg raised The off o of off head in perspective , with the ear and the rbit the eye o Sh wing . A similar bull on a scaraboid of banded chalcedony in the A B r oo 6 u lin ton Ca ta lo e l . 1 1 o o . 2 u 0 Wyndham C k c llecti n (Pl , ; g g , p , M 1 2 2 W n o ue 6 o on dha m ook a ta l . 2 y C C g , pl 3 , ) a similar als o m te r endu 1 8 0 o 6 . on a scarab id in Petrograd (C p , , pl 4 , and o o b a st ne , presumably a scarab id , pu lished by Cades . Of ff f B o o F . di erent style , a scaraboid mottled chalced ny in erlin ( ,

. 1 1 1 o o 6 . A o pl , 3 ) and the st ne c mpared with number 4 pseud on o om te r endu 1 8 0— 1 scarab with this bull it in Petr grad (C p , 7 ,

. 6 2 1 z o o o S of pl , ) a ebu in the same p siti n on the c nvex ide a chalcedony scaraboid in the Wyndham Cook collection (Wynd ha m ook a ta lo u G o - Ro e . C C g , pl 3 , There are several rec man M examples , the finest the chalcedony in the Cabinet des édailles F . . o G o ( , pl 45 , This bull is very c mmon on reek coins fr m of o the later part the fifth century nwards . The three - quartered head is already found in the bull on one th e of Ol m ia of metopes from the Temple Zeus at Olympia ( y p , l iii , p A bout 400 .

B B R 1 0 6 . . . 6 6 ...... 2 2 2 4 , 3 3 Bu 4 Pl 5 From Sicily to o z z according Fr ehner . Formerly in the Tys kiewic collection Collec ion T sz ki ewi z t c . 2 1 6 (sale catalogue number y , pl 4 , F 6 0 . , pl . 9 , . o Scaraboid . Yellow jasper m ttled with chalcedony .

A o f o r pantheress cr uching an upward spring . The head o o o o e raised , the m uth pen with the t ngue and the upper fr nt te th

o th e b e e . sh wing claws ared . The y indicated by a pellet Fro ehner calls th e animal a lioness ; Fu rtw angler calls it o o a li ness in his descripti n (ii , p . but a pantheress in his 1 history (iii , p . 45) In o on - style , our pantheress resembles the g at a rock crystal B b o f o L th e B r M . 6 scara id r m ecce in itish useum (Pl , ) and the walking b ull on a rock - crystal scarab oid in the same co llection

F . ( . , pl

o r . Late fifth century , early fourth 68 I N T A G L I O S

8 1

R . 1 1 . 8 . . L . . 66 . . . 2 B B , 4 9 Bu 59 Pl 5 Found in Egypt o z according to Fro ehner . F rmerly in the Tys kiewicz (sale cata

o 2 8 o . Collection T sz kiewicz l gue number 4) and Evans collecti ns y ,

8 . F . 2 . 2 . pl 4 , 3 , pl 9 ,

H . . Scarab oid . yacinthine sard The side low

Carrier pigeon .

s et o A dove of the same period on a convex sard , in a g ld M B M in . F er R . in s ring , from Beyrut , in the British useum ( g g , 1 0 0 M pl . , number 3 5 ) arshall compares it with coins of Paphos . A flying dove on a rock - crystal scarab oid formerly in the Tysz kie i z o 2 60 o w c collecti n (sale catalogue number ) and now in Bost n .

Earlier fourth century .

8 2 M G Mrs . o . Pl . 5 . iven by J hn arshall z Silver ring with engraved be el . The hoop quadrangular .

N : G . o round line The emean lion a lion , mouth pen , at

. o ff bay , with a club above him Part of the mane f rms a ru , rendered by a series o f short thick close - set arcs the rest is in - on long flame like tufts . The looser skin the belly is grooved o f off from the rest the body . Short bristling hairs on the rump

o . near the tail . The ribs pr nounced Somewhat similar lions on fourth- century coins of Hyele and of Sicyon . A o couched li n , with a club above him , on an onyx , set in Da ct liotheca of A G orlaeu a ring , published in the y braham s G ron ov iu s o of M e o (ii , number where compares c ins ac d n , M o of M are z essana , and Syracuse the c ins essana bron e issues — 8 H H or 2 8 istoria Num um . o of dated 3 57 ( ead , , p th se Syra h le n o z 0— A at oc a 1 0 . 8 . 1 2 H cuse g br n e dated 3 3 4 (ibid , p ead , misma ti c hroni cle 1 M o Nu 8 . o C , 74 , pl 9 , 3 ) the aced nian c in is ’ no doubt on e o f A rch elaos I (4 1 3 —3 99) with a lion s head and H Histor ia Numorum . a club ( ead , , p

Fourth century . w I N T A G L I O S

A ffi is on o o of th e e io seated gri n found a c pper c in p r d , but

o Nomisma . o with ut the club ( , iii , pl 3 , and is very comm n of A o o on earlier coins bdera , ften with a symb l added ; and o rifli n on e on e o alth ugh the g usually has paw raised , in c in he iffin f o on o . . 2 A e r s has all ur the gr und (ibid , pl , The bderit g b o o o o . tend t be massive like urs , and the c m is similarly sh rt Th e club coins belong to the latest group in the continuous series o o of Abderite issues . The continu us series is generally supp sed to have ceased with the absorption o f Abdera into th e Macedonian 0 B C o Empire ab out 3 5 . . the club c ins would therefore date H H is toria Numorum from the first half of the fourth century ( ead , , — z Die a utonomen Munz en von Abdera . 6 von pp 2 55 Frit e , , in

Nomisma . 2 2 2 o , iii , pp and 5 Strack , h wever , believes that Philip II must have granted Ab d e ra the privilege of continuing to o o e f o e c 01n s o issue c inage , and w uld th re re dat the in questi n between 3 5 2 and ab out 3 2 3 (Die a ntiken Munz en Nord- Griechen l H e tw o : th e la nds oc . , adduces arguments first , that on k M o standard which the silver is struc is the aced nian standard , o of o o Slightly l wered in the interest the r yal mint and , sec ndly , i s e o f th e H k o f M o that the club the badg eraclid ings aced n , long employed on their ow n coins and n ow placed as a S ign of o of f on suz erainty on th se a subject city . The act which the first . argument is based must be left to the numismatist : with regard to o o o o M o the sec nd , the suggesti n that the club c mes fr m aced n on e is an attractive and if it is admitted , the inference as to date seems valid . There are other instances of the ground line being replaced o H r e e o f o r on by a club , but nly in e acl an r presentati ns ; instance , of o H e k o E S ra cusa n a coin Tars s , with ra les and the li n ( vans , y o E H es M eda lli ons . n , pl 5 , a late truscan gem with erakl F of oo . . 1 8 on o e sh ting the birds ( , pl , g and an Itali t gem H e k d E o H e e s e ester e . 2 ll nistic tyl with ra les p by r s (F , pl 7 , B ffi n o o o H It ut the gri n has c nnexi n with erakles . can hardly therefo regbe a mere coincidence that th e same design occurs on ou r scarab oid and on the club coins o f Ab dera ou r scarab oid i n o to th e o e e on e must be related s me way c ins d pend nt th m , f o r in th e c oins the club is explicable ; and co ntemp orary with ’ o e : o o them . The h rse s head remains to be x lained it c rresp nds ’ p to s A o the magistrate symbol on bderite c ins , although this actual o on f device does not ccur any o them . It is conceivable that the scarab oid was the offi cial or semi G R E E K : F R E E S T Y L E 7 1 offi cial seal of an Abderite magistrate but to assert this would b e f or k unwise , here as elsewhere individual caprice must be ta en

o . o e int account Whatever the exact explanati n may be , it se ms o o wh o o e o e pr bable that the pers n rder d the seal had the c inag , o A if no particular c in , of bdera in his mind . It must be admitted that the griffin is n ot of characteristic o - th e f urth century type if it is later than fifth century , it must be archaistic . A rifli n o on o seated g , with all f ur paws the gr und , is engraved on o on e e a scarab id which was at tim in G erman private hands . o z o are o B Fu rtwan ler Br n e scarab ids rare an ther in erlin ( g , B hr b n esc ei u . g , pl 4 , number

ETRU SCAN ; FREE STYLE AND ITALIOTE 86

B 6 . R 1 B . . 6 . 8 . 2 2 2 0 0 . . . o 4 , 5 Bu . 2 Pl 3 Sent fr m o o o to o o z z C nstantin ple acc rding Fr ehner . Fr m the Tys kiewic

o F . 6 1 0 . . 2 collecti n (sale catalogue number , pl ,

Scarab . Sard , translucent .

R o The beetle rather careless . idged , especially t wards the

NO or o . A rump . winglets vertical b rder hatched border right o B tw o o round the th rax . etween the elytra a line , with sh rt lines starting from it near the top and forming a triangle with the o thoracic b rder . H H o H atched border . erakles and the li n . erakles , naked , o o o bearded , his left f ot raised , his right tipt e , has f lded his arms ’ o o o on e o f - round the li n s thr at . The li n has his hind legs raised ’ with the paw pressing against H erakles shin his mouth is open with the teeth showing his nose puckered his mane rendere d o o tw o - e by sh rt rippling lines , his sh ulder by quasi circl s each o o o of encl sing a b ss , the wh le resembling two units a cable of H pattern . The hair erakles short and pelleted , the beard in o short thick str kes . Similar though n ot identical designs on an E truscan scarab F - w o . 1 on G o o t ( , pl . 7 , and three rec Ph enician scarabs , ' f o I z A 1 — cro oli de I b z 1 1 2 V e La Ne i a . 2 2 2 r m vi a (Pl . , iv s , p , pl , 4 = 1 z b I b z A r eolo ica . . 2 o i a u and pl 3 , 5 Pere Ca rer , q g , p . 3 9 , fig n d o F . 1 a . one , in Cagliari , fr m Sardinia ( , pl 5 , m I N T A G L I O S

z o Fu rtw an ler Collec Similar also a bron e rnament in Berlin ( g ,

tion S a bouro . fi , pl Fu rtw an gler has compared our Herakles and the lion with the H erakles and the boar on a sard scarab , found at Chiusi , in the

l A F . 1 P . 8 M . 2 British useum ( , 5 , pl , a brilliant comparison , f or the style of the engraving is the same in every respect and the stones are very likely by one hand . The beetles also are L o b o similar , though the ond n eetle is m re careful than the other and has the plates and clypeus hatched and three lines instead of one between the elytra both lack winglets and vertical border : b oth have flat backs and a ridge towards the rump o in b th the hatched border passes right round the thorax , and a short straight line runs to the thoracic border on either side of el tric o of the y division m reover , the elongation the engraved

side is common to both . The absence of winglets and vertical border i n large and careful Scarabs like these would p oint to a n on - Etruscan origin f ou r o M o o o . perhaps als the presumed pr venance st ne oreover , ’ the treatment of the lion s Shoulder has no parallel in Etruscan k Fu rtw an ler o out wor it is Persian , as g p ints , and , outside of o o z Histoire Oriental m numents (for example , Perr t and Chipie , ’ de l A r t E G , v , p . is confined to the astern part of the reek F 1 6 . o . . 1 2 w rld ( , pl , , and iii , p

These details , and the masculine compactness of design and

k to . modelling , ma e one hesitate pronounce the stones Etruscan They are placed here on account of their general analogy with Etruscan work but it is p ossible that th ey are G reek of about 0 B C 45 . . If Etruscan , they “will hardly be much later .

9 R . 0 0 0 44 . Bu . 2 . Pl . 3 . From the Bruschi collection at F . 6 1 1 Corneto . , pl . , 5 . M Scarab . urky sard . H The beetle careful . The winglets reduced to humps . atched R f . o o vertical border ound the sides and the lower part the th rax ,

- a hatched border , with a triangular space left plain half way along o the l wer side . Two lines between the elytra . H A o h . is atched border y uth , with a cloak over left arm , f ff his bends orward , holding a sta in right hand with which he E T R U S C AN ; F R E E S T Y L E : A N D I T A L I O T E 73

— on o touches an open mouthed grotesque head s et a r ck . Short

o o . hair , striated . The m delling of the body s ft and free o is o : o The gr tesque head racular by t uching it , the youth to o o invites it speak . Similar subj ects are c mm n on Etruscan Fu rtw an ler and Italiote stones of free style , and are discussed by g — F . 2 2 2 . 2 1 C . (iii , pp 45 5 2 and 45 ompare particularly , pl , , 8 f or k . f F . 2 2 o o . and the t uching the head with a stic , , pl , 7 and No t earlier than the late fifth century .

8 8

G 8 R 1 1 1 . P . 3 3 , 3 . Pl . 3 . Bought in ome , 9 .

Scarab . Sard . The V The beetle careful . winglets roughly indicated . ertical s et of border of crossing lines , one lines twice as numerous as

A . the other . hatched border round the lower edge of the thorax

Between the elytra , two lines . H o H on atched b rder . erakles standing rocky ground and o fi rm am ent on e of H Sh uldering the . On side him , the esperian on his tree the other , a rock with club stuck in it and his quiver to A o his tied the club . little plant grows from the r ck between E L is . o E PC E o H legs Inscripti n , retr grade . erakles beardless his o - s et o sh rt hair is in pellets . Big eye . Thick figure , p werful 8 o of modelling , tighter than in number 9 . The same c nception f o as - rm in the cups of the vase painter Aristophanes . The right fi rm am en t leg is frontal , and bent at the knee . The is represented o by a curving mass set with the crescent m on , two big stars , one r at either tip of the moon , and a numbe of lesser stars rendered by pellets . ff The same subject , di erently treated, on a sard scarab in o A 1 H o on e his . 2 B ston (Pl , ) erakles with b dy and leg frontal , lion skin o o o fi rm am en t on e ver his sh ulders , supp rting the with his A A DI L A hand and holding his club in left , while tlas ( , ril) plucks the Hesperian apple from the tree the fi rm am en t is s et with s un as well as with moon and pellet stars the engraving i s E tru sc m o of is in the free style , but the riginal the design ou r o A on e o earlier than in st ne . third rendering in of the met pes

Ol m ia . from the Temple of Zeus at Olympia ( y p , iii , pl

Early fourth century . fl I N T A G L I O S

0 . R 8 . . . . 43 . Bu 3 7 Pl 3 Bought from an Italian about 6 F . . 2 . 1 8 . 99 , pl 3 , 3 M ’ Scarab , cut . urky sard . The outline of the lion s back

missing and restored in gold .

H H o atched border . erakles throttling the li n bow and club B P LE H er le o H : o E C c . in the field inscripti n , , retr grade erakles is beardless , and has short hair rendered with great freedom . H f or . Small pellets the pubes eavy forms , massive modelling in ’ o the free style . The left legs of the li n press against the hero s - his thigh , the raised right fore paw tugs at arm . The mane is o o b e rendered by Short lines sh rt lines for the hair al ng the lly . The same design on a sard scarab in the British Museum F 1 M a ta o ue 6 88 . A 1 B . l . . . . 8 . (Pl , ; C g , pl E , 3 5 ; , iii , p , fig Tw o R smaller versions have been in the oman market in one , b ow o the club and are placed as in our st ne in the other , the l club is between the egs . The former bears the inscription C A LA NIC ' Calan ic e : , ( ) , the last letter being doubtful it is the ’ G Ka M tmKos Calan ice H ercle reek , and is used instead of on an G E truskis he S ie o c el . Etruscan mirr r ( erhard , p g , pl The design has been discussed by Evans (H orsemen of Ta ren tum Furtw an ler 1 88 , p . 5 3) and by g (iii , p . ) it is borrowed from H k L the era les and the ion which makes its appearance , towards H erakleia the end of the fifth century , on coins of in Lucania

and other cities .

Early fourth century . 90

G 62 . . . . 1 1 6 . P 3 , 3 Pl 3 . Bought in London , 9

Slightly convex . Sard .

H o M h i . as c al sm os atched b rder Uneven ground line . a man and a youth dismembering the trunk of a youth the head lies on to the ground , chin right the arms are still connected with o of o to o the b dy , but one the men is ab ut strike with a ch pper . o o The y uth wears a chlamys . The hair is sh rt , with loose stria ’ H tions the man s beard rendered by a row of pellets . eavy but

constricted forms . R F eplicas , with slight variations , on a sardonyx scarab ( . ,

. 2 1 0 South esk o A . 2 pl , 5 ) and a sard in the collecti n (Pl , 4 ; E T R U S C A N ; F R E E S T Y L E : A N D I T A L I O T E 75

a A A o w as S outhesk Ca t lo ue . 2 g , pl , third versi n in the

Boulton collection and may be identical with ours . The f a h lis m oi i Fu rtw an ler o m sc a . subject s discussed by g (ii , p

a mythical prototype probably existed but is still to seek .

Italiote . Third century .

9 1

G o o o 1 1 1 . P . 343 , 3 . Pl . 3 . Fr m the Boult n c llection , 9 (sale 2 6 catalogue number ,

Sard , translucent . Chipped at the sides and pared round .

H e A centaur about to hurl a krater . is of the primitive typ e composed of a complete human b ody j oined to an equine barrel

- and hind quarters . The human body is powerful and heavy, with big pectorals and a large depression f or the navel : the penis o : small , the legs in pure pr file the right ankle rendered by a ellet of p . The cheek bone very prominent . the lower part A row of f or o the face s et back from the upper . pellets the l wer of : i s edge the hair , another for the beard the hair on the skull covered with lines nearly parallel to the contour of the head ; three of these lines run out from ab ove the nape to represent o of - is o l ng loose hair . The lower part the calyx krater br ken

away round the mouth , a row of pellets , with a line below it another row of pellets on the cul of the krater near the top . The right hand of the centaur is seen half- way along the upper side o i s of th e f the vessel . his left arm bent and the fingers left his S is hand are pressing against his side . The action of leg diffi cult to determine owing to the fragmentation of the stone : o but he seems t be stooping in order to hurl the crater . o - o G The centaur with human f re legs , c mmon in early reek A o M is s ee . 2 art ( Pl , , an agate scarab id in the British useum) , o rare in the ripe archaic peri d and rarer afterwards . On red h as figured vases , the cultivated Chiron sometimes human fore N : 60 B . C . on o legs as late as 4 , the v lute krater , by the iobid D v n Ru o i N z ie Amaz onen Vase o v . pa nter , in aples (Schult , , pl o n G e o of Still later examples , the centauress a re k scarab id , early — M F o o C . . f urth century w rk , in the abinet des édailles ( , pl and the opponent o f Theseus on a G reco Roman g em o f slightly G Mus m orentinum R eu Fl . archaistic style ( ori , , ii , pl ; einach , ’ P ierres ravees o g , pl . 57 . pink paste of the same type , pr bably M i s ancient , in the British useum , number It clear that w I N T A G L I O S the human fore- legs do not prove our centaur to be of very

early date . to is The body , powerful heaviness , yet very fleshy , not in e f o the manner of the fifth c ntury . Such bodies may be und in H o F of . . Italiote gems the ellenistic peri d , for instance , , pl f 6 1 . 2 . o o . 2 pl 7 , and pl 3 , 5 5 These three gems , and thers the k o of class , have the same huge sun en navel as urs . The head ou r centaur looks drier and more archaic than his body this is also true of the Zeus and the giant on the Florence stone just

F . 2 1 o o mentioned , . , pl 4 , 4 and the haggard face , with its h ll w f I o F 1 8 6 6 o o . . cheeks , is characteristic tali te st nes ( , pl , 3 and 5 ’ 2 of pl . 5 , The ends the centaur s fingers are pelleted and ’ s o are the ends of the giant s fingers on the Florence stone . The ’ of of long bunch hair at the nape the centaur s neck recalls , o though it d es not reproduce , a fashion which is very frequently

o . . 1 f und on late Etruscan and Italiote gems (F iii , pp 95 and

92

R 1 0 66 2 1 ...... o o B . B . , 9 54 Bu O 5 Pl 3 Fr m Sal nica lection sz o to o . ol T kiewicz 2 1 F . acc rding Fr ehner C y , pl . 4 , 5 , T sz kiewicz S a le a ta lo ue 1 2 0 0 . 2 2 . pl . , 7 y C g , pl 7 , number 9 o Sard , translucent . Chipped bel w and pared round below

and at the sides .

° o . w as 0 1 Uneven gr und line There possibly a pattern , egg

the like , in the exergue . o s Silen and g at . The ilen , bald , bearded , wreathed with ivy , k e o f o o b neels with h ad and b dy r ntal , the b dy eing slightly tilted ’ o e o f r o of t wards the sp ctat r s right , his le t arm und the neck the Th e b o . e o g at , his right raised ard c vered with vertical strokes ’

e . oo o k o ending in pell ts The tail , which l ks s mewhat li e a g at s Th e - o . o e o on e of tail , fl urished g at is kne ling on its f re legs and $ its hind - legs is s een below the silen s foot head frontal h eavy eyelids pellets f or the hair on the forehead ringed horns the o coat rendered by thin diag nal lines . The action of the right hand is made obscure by the paring of o Furtwan l r the st ne . g e supposes that the silen is adjusting b ut b e his wreath , as far as can seen , the palm of the hand , o is o with the thumb in fr nt of it , turned towards the spectat r ,

which is not the gesture required . The position of the thumb n I N T A G L I O S G REEK HELLENISTIC 93

PI 1 0 o G . . . . . 2 2 . P 3 , 5 Pl 7 , and , enlarged , F und at Chalkis 1 08 E o L . in uboea . B ught from ambros in 9

Co nvex sard .

f e G o o A . r und line . Cassandra at the image thena She kne ls o of with b wed head , a sprig laurel in her right hand , her left o of hand clasping the l wer part the image , which stands with left leg advanced on a rectangular pedestal s et upon a plinth : e o o the goddess wears a crested Corinthian h lmet , and a l ng chit n ,

o o . o o s mewhat full ab ut the ankles a spear acr ss her right sh ulder , ’ rm zo o o o on a . a shield her , embla ned with a g rg nei n Cassandra s f oo e on h er o is hair , wreathed with laurel , alls l s sh ulders . She naked save f or a thin garment covering her left leg and passing o o o f behind her left sh ulder and ver the upper part her arm .

The same figure , with the same drapery , is frequently used R : n ot o f or N k e in oman times , h wever , for Cassandra , but i on o e e n Ro . Vo sacrificing a bull In clay , dec rativ plaqu s ( hden Win n ef eld A r chitek tonische r omische Tonrelie s der K a iserz ei t and , f , — r e - M 8 B . . 2 . pp 9 , the fi st typ , left hand plaques ; Walters , a ta lo ue o Terra - cottas 1 1 2 on on e of C g f , pl . 4 , and ) in silver , B o o L o M m o onu ents P iot . the jugs fr m sc reale in the uvre ( , v , pl 4 Re Re er toire des relie s 8 on inach , p f , i , p . 5 , in gems , four B M H S pastes in the ritish useum (Pl . B , 9 Cecil Smith . . vii , E 6 6 l 1 . . 6 : pl , ( 3 , and 7 ( , p . 3 , 3 the o on o e A compositi n reversed) , and st nes publish d by gostini Gemme a ntiche ura te k - om . 2 : o : c ( fig ii , pl 3 r c crystal on 1 8 of f o pared by him , p . his text , with the clay relie s menti ned ’ o G e R P ierres ra vees ab ve) , by ravell (ii , 77 ; einach , g , pl . F rt an l r 0 w e . S ou u thesk a ta lo ue . by g (pl 3 , and in the C g (pl 5 , D D 1 0 9 , sard , and , red jasper) . of o f o e B C The oldest these m numents date r m the first c ntury . . That the Nike and the Cassandra have a common o rigin canno t on e oo be doubted . The kneeling attitude with arm dr ping behind els ewh ere the body naturally occurs ; for instance , in a wounded Amazon on the Phigaleian friez e (Slab 5 3 1 ) and in the Ap ollo on - f B M oins o s o o . P elo onnesu fourth century coins Sicy n ( . C f p , 8 N k pl . , what distinguishes the i e and the Cassandra from o o of all such figures is , first , the p siti n and arrangement the o o o i s drapery , and sec ndly the idea emb died in the f rm , which the o o f motionless moment immediately f ll wing extreme physical e fort . G R E E K z H E L L E N I S T I C 79

G - R s o f The numerous reco oman , in the ab ence earlier , to ou r parallels seem place stone in that epoch . The great o of o warmth , vig ur , and expressiveness the m delling might speak for an earlier time : John Marshall considers it Hellenistic of o 00 B C o ab ut 3 . and it is placed here , pr visionally , among the H e o e o ell nistic stones . It must be bs rved , h wever , that the big London pastes are admittedly G reco - Roman and the lost or o f or iginals , of which they are , after all , poor c pies , cannot , o f r o of o e e a . executi n , have fall n sh rt the present st n True , they would have lacked its depth and majesty of feeling but let it o th e b be b rne in mind , that type may very likely have een created , n ot - o o by a gem engraver , but by an artist in s me ther material , o e say a painter . If the riginal figure was a Cassandra , the engrav r wh o copies it as a Cassandra may be able to preserve the spirit of o who f or N or the riginal the engraver copies it a ike , rather copies a work in which the original figure was adapted to make N o a ike , will f rfeit the original spirit . o r The original figure may have been either a Cassandra , N or o w as N o a ike , s mething else . That it not a ike , may p ssibly be inferred from its greater impressiveness as used f or Cassandra o i s o k more ver , it perhaps rather m re li ely that an alien figure N o f or would be used for a ike , c nsidering the great demand fi f o e f or o V o N . ures ict ry , than that a ike w uld be us d a Cassandra o o here are faint indicati ns that the riginal figure was a Cassandra , n o o of but reliance can be placed up n them . First , the upper part o oo the b dy , the dr ping arm with the laurel sprig , the bent head a on and flowing hair , all re ppear in the Cassandra or Pythia the M Haus er ahreshe te . edici krater ( , 7 f , xvi , p The resemblance o n ot C is pr bably accidental . Secondly , the head of assandra

may be compared with a laurelled bust , very likely of the same , - F 8 0 o on G o Ro . . which ccurs several rec man gems ( , pl 3 , 4 and 1 0 1 0 1 filleted 4 pl . 4 , and 4) but these are draped and .

See number {94 . 94

P 1 0 A 1 l . 1 . Bought in thens , 9 5 . D G ouble convex . laucous beryl of the kind called aquamarine .

G o A r und line . Cassandra clasping the image of thena is S a replica of number 92 . The spear lacking , and the hield i pla n . The engraving is not so deep or so precise as in number

10 n o o f o . 3 , but less masterly and m re delicate charm 80 I N T A G L I O S

The beryl is n ot used by gem - engravers until H ellenistic D o b r of G - R times . u le convex be yls , reco oman date , are in the o o F o . . 0 C Wyndham C k c llection ( , pl 4 , 3 ) and in the abinet des

M F . 8 édailles ( . , pl 4 , 95

6 R 1 . . 2 2 . . 2 0 . . 1 6 . B B 7 , 9 4 Bu O 4 . Pl . From the z z Tys kiewic collection . Said by Froehner to have been found in Phoenicia but Naoum Mitri of Rhodes told John Marshall in 1 905 that he had sold it to Tyszkiewicz and had bought it from A o F bu h . 2 . u rtw an ler ahr c a peasant at dana near Tars s g , 7 , iv , pl , 2 Collection T sz ki wi z F . 1 e c . 2 1 . 2 Froehner , y , pl 4 , 7 , pl 3 , 3 T sz kiewicz S a le Ca ta lo ue . 2 2 2 y g , pl 7 , number 9 ; Fowler and Greek Archa eolo L Griechische . . 2 Wheeler , gy , p 3 99 , fig 3 7 amer , Kultur im B ilde 6 1 , p . , fig . 7 .

C . halcedony , strongly convex Portrait of a Pto lemaic queen as Isis : a female head with f the beginning o the chiton and himation indicated . Egyptian o ff o o o k o c i ure the hair tightly c iled , with c rkscrew l c s , short ver o e b e : of the f r head , long hind the ear diadem , and in front it ’ I f o o of o o . the symb l sis , the sun cradled in a pair c w s h rns Full o e of chin and neck the pupil , and the ut r line the iris , indicated o To o o by faint pr minences . the left , d wnwards , the inscripti n ’ AY K MHA HZ n o — o th e , perhaps the artist s name end d ts omikron reduced to a dot : a facsimile is given by Fu rtw angler ahrbuch (7 , iv , p . f z o th e The eatures are ideali ed , but less than appears fr m o o repr ducti n , in which the projecting chin and the characteristic o on of n se , being engraved the curve the stone , are seen in fore

shortening . The queen represented must be either Berenike I or Arsino e Philad elph os Fu rtw angler considers Berenike I the o e loc 80 m re lik ly ( . cit . , pp . of First half the third century .

96 6 o B 66 8 R 1 B u . . . . 0 . 2 . . 2 . . B , 5 34 34 Pl F rmerly in the L ollection T sz kie u dovis i z z o . , later in the Tys kiewic c llection C y

miez F T sz kiewi cz S a le Ca ta lo ue . 2 . 6 2 . . 2 , pl 4 , 4 , pl 3 , 3 y g , pl 7 , 8 number 2 5 . H yacinth . The back convex . ‘ G R E E K z H E L L E N I S T I C 8 1

Portrait of a Ptolemaic queen : female head with clothing V shown on the neck . Chin and neck full , with the enus rings of noticeable . Prominent eyeball the pupil , and the outer line

. o of the iris , in relief The irregular n se is the same type as in of number 95 . Earring , consisting a ring with a wire hanging from it strung with three drops , a larger between two smaller . Metal stephane with a diadem passing round the lower part of

. e th e o it The hair elaborately dr ssed , apparently by foll wing h e o to r to o process . T hair is parted fr m ear ca s o as f rm a fringe b k o the fringe is turned ac fr m the brow in even curls , the ends of which are covered with the stephane the rest of the hair is o o of taken back fr m the parting , a small c il formed at the back o o the head , and the hair which remains br ught f rward again in the curls which are seen to the right of the coil . In contrast e is with this formality , the hair on the nap of the neck lightly A on o combed forward with a natural wave . lady a g ld ring in o F n . 2 o Petr grad ( , pl . 3 , 3 3 ) has dressed her hair the same

e o o o . principl , but she lacks the formal Pt lemaic curls ver the br w of n ot k o f The type stephane and diadem , to spea the hair

o on . dress , is that w rn by Ptolemaic queens their coins The o of A Philadel h os features resemble th se rsinoe p , and Froehner n o is is doubt right in identifying the portrait as hers . The head of o wh o is that a w man still young , and the stone may therefore to be attributed the earlier part of the third century .

97

6 R 1 to . . 6 8 . 2 8 2 . . 6 B B , 9 3 Pl . . Said by Froehner have been found at Suleim an ieh in Turkish Kurdistan : From th e F T sz kiewicz . 2 1 2 . z z o e o . ollection Tys kiewic c ll cti n C y , pl 4 , , T sz ki icz S a le a ta lo ue . 1 1 6 ew 2 . pl 3 , 4 , and , drawn , iii , p 9 y C g ,

. 2 8 2 . pl 7 , number 9

Syriam garnet . The back convex .

Portrait of a middle- aged man head and shoulders of a bearded man wearing a f ez - like cap and a chlamys fastened b o with a w . The lips parted , the eye salient , the pupil and the

outer line of the iris marked by slight prominences . f ez Furtw an ler With the , g compares the headgear of certain

barbarians on the columns of Trajan and of Marcus Aurelius . of T ra an ic Cichorius The headgear the j figures , supposed by to M 8 2 I N T A G L I O S

I D Tra a nssa ule 1 az es ie . 1 1 be yg ( j , iii , pp 43 and 5 , and pl . ff seems to di er from ours in having a lower rim , and is probably is or A a helmet , whereas ours a cap of felt the like the urelian to Die M arcus headgear , which is taken be Scythian (Petersen , ' a i to s ule . 6 s . , pl 5 , flattened at the p A o b ut ou r r ugher forcible replica of head , in pale brownish o o Ionides chalced ny , was f rmerly in the collection and is now in 1 0 B ur lin ton Ca ta lo ue M . 1 1 2 the British useum (Pl B , ; g g , pl . , M 1 3 6) it is said to have been brought to England from Con ta i M s nt A . . n0ple about sixty years ago . S urray considered ours o Ion ides to be a modern c py of the stone , which he wrongly arab oid uar terl Review 1 0 1 s c . described as a (Q y , 9 , p 434) but . is oo H ours in g d ellenistic style .

Third century . 98 B R 1 1 . u 6 B 1 6 2 . 1 . 1 0 . . 8 . . . 8 B . B , 3 O Pl ought in 99 R from W . T . eady , who reported it to have been found on the F w an ler d . u rt an Euphrates g says that it came from the East , w as on e Mr F 1 2 at time in the possession of . Lau . . , pl . 3 , 3 , 1 and , drawn , ii , p . 54 . C lear sard . Portrait of a man in Eastern costume head of a clean - shaven - elderly man , wearing a club Shaped torc and an Oriental head o of his dress the c llar garment indicated , the eyeball prominent , f o of the rehead wrinkled . There is a circle in front the ear , as on e if some had begun to bore a hole . ’ The pupil is n ot marked : herein Furtw angler s drawing is

misleading . - of The head dress is a conical cap felt or leather , running

o to on . d wn a peak the forehead , and furnished with three flaps The central flap hangs down at the back of the neck and is seen o Th e o two f o of in pr file . ther are folded together in r nt the - fla s if n ot head . These tapering side p , they were gathered up , o n ot f o r o w uld all smo thly in a vertical di ecti n , as in many Eastern - oo o to head dresses , but , to remain sm th , w uld have be brought o o o diag nally f rward t wards the chin , where they might be tied together . k i Experiment , indly conducted by a fr end , proves that the - s is a e u head dres ccurately rendered . Its shap before , d ring ,

84 I N T A G L I O S the forehead below the hair is a fillet or diadem tied round the - is as head before the head gear put on , and not afterwards , in of f to on 8 Imh oof - the coin Persis re erred number 9 ( Blumer , ' dtko e or on A tische P or tr . 2 pf , pl 7 , 7) rmenian and Parthian - - fla o coins . The right hand side p is lifted up and slung ver to the left side of the head the left - hand side - flap is similarly slung o e of o v r to the right side the head , where it appears in our st ne - o as a broad sock shaped projecti n above the ear . f or oo - - is o Save the flaps , the h d like head dress s mewhat analogous to that worn on coins attributed to Persis (Corolla Numisma tica 6 , pl . 3 , numbers 4 , ,

6 i 6 . . Lud vis . . 2 2 . 6 . o B B 7 , 9 Bu O Pl . Formerly in the , z z o later in the Tys kiewic c llection (sale catalogue , number Collection T sz kiewicz F . 2 . . 2 . y , pl 4 , 5 , pl 3 3 , 4 C . o Slightly convex lear sard . The cr wn of the head missing and restored in gold .

o o f Ro - e o P rtrait , perhaps a man a clean shav n man with sh rt hair and wrinkled forehead the clothing shown at the back of

. e o o o the neck The ey br w rendered by sh rt diag nal lines , the Mis outer line of the iris by a raised arc the pupil incised .

shapen ear . A e o Stos ch o o past after this st ne , in the c llection (f urth class , number was wrongly described by Winckelmann as antique ’ Descri tion des ierres ra vees ( p p g , p .

B R 6 . B 66 88 1 . B u 0 2 . . . 2 . . 2 . . , 3 7 4 Pl From the Ludovis i zk z o ollection T sz kiewicz and Tys iewic c llections . C y , F T sz kiewicz . 2 1 0 . . 1 6 1 2 pl 4 , , pl 3 3 , , and , enlarged , pl . 5 , 5 y S a le a ta o ue Greek a nd R oma n l . 2 2 88 H ekler C g , pl 7 , number ,

' P r ra its s o t D l or trat . 2 . b r e P . e u eck A ntik , p xviii , fig 7 , , pl 59 ,

1 L 1 6 . d 6 . Griechische Kultur im B il e . (misprinted ) amer , , p , fig k Blac jasper . f Po rtrait head o an elderly Roman . The pupil and the outline of o the iris in relief thick eyebrow rendered by irregular , r ughly

86 I N T A G L I O S and passed the remainder in front of her breast and over her

left shoulder . The hair is parted in the middle and twisted up ’ Th e r cAn N o . two into a kn t behind artist s signature , in lines , ‘ o I eka w imiet F E n t l : . . 0 , see , ii , p 3 5 . An unsigned replica on a convex sard from Amrit in the o D e R e tion De Clerc D e . Coll c Clercq c llection (Pl B , 7 idder , q,

. 2 0 vii , pl , number o f o is The t mb r m which the stone came dated , on the evidence o to of Kourouniotis of the ther finds , the end the third century ( , E h Ar 1 8 - ch . . 2 p . , 99 , pp 3 3 4)

- of R Wissow a s . v . For the style the stone , ossbach (in Pauly , G o o o o el n compares a sard , set in a g ld ring , fr m a t mb belonging to the cemetery of the ancient Trich on ion in Aetolia E h A rch 1 06 on f ( p . . , 9 , pl . 4 , The design the sard is a emale f k - figure , hal na ed , and seen in three quarter view from behind , leaning on a column and holding a comic mask in her hand ; o to across her shoulder , a streamered thyrsus , corresp nding the o i d e Soteriades Spear on our st ne Thalia acco rding to Soter a s . dates the Aetolian tomb to the beginning of the second century l oc . . . ( cit , p

A o F . nother kindred design on a convex garnet in Petr grad ( ,

. 1 o o o pl 34 , 7) a maenad with in ch e and phiale , a thyrsus against o A o A o e th e e on her Sh ulder . ls akin , phr dit with eagl a sard in C o o F 8 N the hatsworth c llecti n ( . , pl . 3 , and ike writing upon

on M H . S . a shield a paste in the British useum (7 . . vii , pl E A 2 00 B . C bout .

1 03 R . . f R . 2 . B o 595 Bu O 7 Pl . 5 . ought r m W . T . eady in

1 8 A F 6 1 . 97 . From thens according to the sender . . , pl . , 53 o flecked o e Bluish chalced ny with white . The shape appr ach s r the rectangula , but all four sides are curved and the corners off rounded .

o A s ea- Border of diagonal str kes . pantheress attacking a poly us o h as p , which she grasps with mouth and paws . The p lypus e o o three plain and two pelleted tentacl s . The m nster sh ws o on f o flippers at the right elb w and the le t Sh ulder . Stones of this shape ar e not found before the Hellenistic age F 6 . . 2 2 . 2 0 1 6 ( , pl , 7 ; pl , 7 pl . pl . 5 , The shape G R E E K z H E L L E N I S T I C w

i s o run o derived , in the l ng , from the scarab and scarab id . The o o o b rder of diag nal str kes , a degenerate variant of the hatched o o of H o F b rder , appears on Italiote st nes the ellenistic peri d ( . ,

. 2 . 2 0 6 H pl 3 , 5 , and pl , 3 ) and on a very late scarab , of ellenistic M F 6 1 0 date , in the British useum ( . , pl . 5 , ) not , it seems , later .

104 G . . 2 2 . . . o o A 1 08 P 3 , 4 Pl 7 Br ught fr m thens , 9 , and said b to Le A re y the dealer , a trustworthy man , be from sbos . n ot e o o plica of , if id ntical with , the st ne published by Pietr V z Gemme antiche er la zu ar te inedi te R 1 8 0 iven io ( p p p , ome , 9 , z o pl . and after Viven i in a small anonymous work of which there is a copy in the library of Sir Arthur Evans (R a ccolta di trenta scelte incisi oni in pietre dure appar tenenti alcune a l R ea l M useo B orbonico ed altre a riva te collez ioni N 1 8 p , aples , 45 ,

. V z pl iven io describes the stone as a jasper in his plate , as and an agate in his text . M oss agate .

G M M on round line . arsyas and Olympos . arsyas seated o a rock in fr nt of him Olympos , a slender boy with short hair , M o holding a flute in either hand . arsyas lays his left hand n Olympos ’ shoulder and extends his right arm as if to bring him His f nearer . hair and beard are rough and his eatures rugged ’ his o a beast s skin on his lap and over left arm . Olympos l oks M hi o at arsyas for guidance a cloak over s right sh ulder . The representation of the same subject on a late Italiote stone F o . 0 6 to o . ( , pl . 3 , 3 ) must go back the same riginal C mpare also ' H Denkmaler der M a lerei des the Pompeian painting , errmann , Alter tums 8 M o , pl . 7 . arsyas teaching Olymp s the flute is a pen to A o dant the Chiron teaching chilles the lyre , which is kn wn f o 8 o H H . 2 r m a erculanean painting ( errmann , pl ) and fr m F 1 6 . 6 . . . 2 engraved gems ( , pl 4 , 5 pl 43 , pl 43 , H Perhaps late ellenistic . 88 I ' N T A G L I O S

GRECO - RO MAN

1 05

6 0 R 1 B 6 . . . . 2 2 . . 6 . B , 9 3 9 Bu O 3 Pl . 7 , and , enlarged , PI 1 0 H . . From adrumetum in Tunis according to Froehner . z z o o le tion T sz kiewicz Formerly in the Tys kiewic c llection . C l c y , 1 F 1 . 2 . 0 Neue . . 2 2 pl 4 , 3 , pl 5 , 9 , and , drawn , ii , p 4 Bulle , ahrbucher 1 0 T e 0 ki u . 2 . 2 sz ewicz S a le Ca ta lo 7 , 9 , pl , 5 3 y g , pl 7 , 2 0 R A ollo 8 1 . 1 1 number 9 ; einach , p , p , fig . 7 ; Stuart Jones , ’ Com a nion to R oma n Histor 6 1 Fu rtw an ler s . 2 . 6 p y , p 4 , fig , after g

drawing .

Slightly convex . Sard , now milky in parts .

A N r ugustus , as eptune , mounting a chariot drawn by fou s ea- horses over a troubled sea : he is escorted by a young Triton Ab o e o l A AAB AN . fl n and a dolphin v , the inscription , giving the ’ o l anus o A b . wner s name , P pilius are o o k o The letters end d tted , the mi r n rather large , the nu

loo o e . slanting , the beta thin with the upper p smaller than the l w r o e f i om b The chariot , c nceived as merging the waves , is invisi le f or e of o of on e ok of save a glimps the fell e , sp e , and the upper of s ea - or e edge the car . The h ses hav distended nostrils and o : b e o f t ssing manes they are finned at the el ow , and a girdl o o - k o weed , as c mm nly in sea creatures , mas s the c mmencement o o to i of the spin us taily The Trit n , seen below the nipples , s shown to be swimming by his raised right shoulder : he seems to have big bestial ears like the marble Triton in the Vatican ' B Der schone Mensch ( ulle , , pl . The driver is naked save f or a wrap which passes over the right shoulder and behind the back and is wound round the left arm : the left leg frontal ; the or hair sh t ; a trident in the l eft hand . th e re i es entation In a general way , p may be compared with the Po seidon driving a pair of sea - h ors es on a paste in B erlin F of ( . , pl . 37 , which there is a smaller replica in the British M B M ta o ue l G . . a l . useum ( C g , p , number On the pastes , o n ot : as our the chari t is indicatedp at all in gem , the rigid geometrical lines of the chariot would have marred the furia of o the representati n . One of the few chariot - pieces comparable with ours for its

90 I N T A G L I O S

PI z z 0 1 . . . Bu . R 1 . 6 . . B . B . 7 244 43 7 From the Tys kiewic F 6 1 1 collection (sale catalogue , number . , pl . , 7 .

Clear sard .

min G o . exa r und line , swelling towards the middle Theseus ’ his o ing father s sw rd . On the ground the shield the device o a g rgoneion framed in petals . This design w as extremely popular in Imperial times further examples on a sard in the Cabinet d es Médailles (Collection P a 1 00 F 8 1 8 l . uver t de la ha elle . . C p , pl 7 , , p 3 , ) and on a lost F 1 on th e M stone ( . , pl . 43 , 3 ) a yellow paste in British useum F rt an B rei un 60 u w ler esch b . on a red jasper in Berlin ( g , g , pl , u 8 8 1 on o o 1 2 o o n mber 4 ) the nic l , number 3 in this c llecti n ; o s et - M on an ther , in a third century ring , in the British useum H rr n 1 R o F n i e 1 . mische i e . ( enkel , g g , p 4 , fig on an onyx set i ll 1 - B onner ahrbucher V i . 2 in a silver ring found at Treves ( 7 , , p , 1 6 1 . 6 H . figs . 4 and 5 enkel , p 4 , fig ) on a paste , set in a third

M . 8 o z A . century br n e ring , found at ugsburg , in unich (ibid , pl 7 , 8 8 on o 34 , and pl . 4 , number and an nyx , set in a gold of o o A G orlaeus ring ab ut the same peri d , published by braham Da ct liotheca of in his y (i , number Others , the antiquity o o e f or o o are which cann t be v uch d fr m the illustrati ns , figured A mm a ic e ura te K Anti ue Ge e nt h . by gostini ( fig , ii , pl by ing ( q Gems a d Rin G 1 1 Rei n s . . g ii , pl 43 , by ori (ii , pl 7 , ’ P i rr r e o of e es a ve s . nach , g , pl and in the descripti n the Orleans o Re I 2 0 . . . t c llection (ii , 5 ; inach , p cit , pl is easy to under stand the popularity of the design a ring with Theseus examining his sword would make an excellent present for a young man beginning his military career . The o riginal was n o doubt a work in the style of the fifth o b Pol kleitos century , p ssi ly in the manner of y . The petal frame on the Shield recurs on the Berlin jasper and G orlaeu s A o in the stone published by . shield like urs , em b z o o o e on la oned with a g rg nei n surrounded by p tals , an Italiote F . . 2 2 on sard ( , pl , The petals also a stone reproduced by A 6 2 V as . V gostini (ii , pl 4 ) with enus ictrix of the same type F . . 8 on o z b , pl 44 , 7 , a late br n e relief with the same su ject in ahrbuch on Berlin (7 , ii , p . and a marble relief in Turin R zzo Romische Mi tteilun en published by i ( g , xxv , pl . The figure of Theseus is grouped with another on a stone Furtw an ler 2 published by g (pl . 4 , G R E G G - R O M A N m

8 P — G . . . . R P 1 1 2 1 . P 34 , 4 l . 7 Bought in ome ( ) , 9 3

Golden sard .

G A o o round line , swelling towards the feet . c mic act r , of old o o o masked , in the part an gentleman , h lding a l ng kn tted i o h . o s . stick and “str king beard The left leg fr ntal The hair hatched with the lower edge pelleted : the beard in rows of

- o . pellets . Sleeved under garment , himati n . Paunch G - R Tw o A favourite design in reco oman gems . examples 8 o Furtw an ler . 1 are figured , and thers mentioned , by g (pl 4 , 4 , A o 0 . and 5 , and ii , p n ther was recently in the Paris market ' — llee Gemmes et meda illes anti ues 2 2 6 ma rs 1 02 . 2 o ( q , 4 9 , pl , 3 C

tion ules S a mbon . 2 A o 7 , pl 4 , Similar design on a st ne in M Miln ner ahrbuch che . 2 unich ( 7 , iv , pl ,

1 09 — G 8 1 N 1 1 2 1 . . P . 34 , . Pl . 7 . Bought in aples , 9 3 o Slightly c nvex . Sard .

G o o An round line , swelling t wards the hither f ot . archaic J Apollo he h o lds b ow and arrows in on e hand and in the other the fore - foot of a fawn which stands on its lhin d - legs in front of Th e of od him . head the g is slightly bent The body archaic

high chest , bulging calf , long feet , tight knees . The skull high . o is as The l ng hair hatched , and edged with pellets behind well as before two series of pellets represent loose locks falling on n the breast the fillet i dicated . - F The same design on a number of G reco Roman stones ( . , 1 Fu rt an 0 M . 0 w ler B s hr ibun 1 8 2 e c e . 2 2 pl 4 , and g , g , pl , 3 illin , ’ = ’ B M . P i rres ra vees 6 Re P r s r 1 0 . e . i e re a vees . 2 g , pl inach , g , pl lo ue G of a ta . 2 0 e C g , pl , number 7 ) facing l ft instead right , on o o o f E Siev ekin con a chalced ny in the p ssessi n o Sir dward g , s idered b who to y Cecil Smith , published it , be a cut scaraboid P roceedin s o the R o a l S oci et o A nti uaries 1 88 ( g f y y f q , 7 , plate at ' 2 o has o to p . 5 3 , The archaic statue repr duced been supp sed o z A o o Philes i Kan ach os M is be the br n e p ll os by at iletus , but it presumably that statue which is reproduced on Milesian coins

M oi s o I oni T es . 1 B . . n a 10 G . 2 2 ( C f , pl , 9 and ardner , yp , pl 5 , 1 is not as 5 and and in these the fawn standing , in our gem , w I N T A G L I O S

’ C 1— A . 1 . b ut 00 . . 2 on pollo s hand ecil Smith ( cit , pp 5 5) . sitting conjectures that the original fawn w as lost during the sojourn of w as the statue at Susa , and that the statue restored , on its return , A o Kan achos after the Similar p llo of at Thebes , the gems repro ducin its its g first , the coins second state .

F l 0 2 . The stone which most resembles ours is . , p . 4 , The Mu is 0f British seum sard a poor , watery work later Imperial

date .

G 6 . C . . . A . 2 . n P 5 , 7 Bu O 73 Pl 7 . imprint in ades , sixth 1 B ullettino 1 8 1 10 century , 4 described in , 3 9 , p . , as replica accuratiss im a dalla pietra posseduta dal duca di Blacas col nome ’ E IO Y C o R di H . orniola gia degli eredi dell avvocat Isola in oma ora nella collezione Vannuttelli The Blacas stone is now in the Mu 1 1 Ga lleria British seum (number 3 94 Pl . B , 3 Inghirami ,

- Omerica 1 0 C G ouffier Vo a e i ttores ue . 1 , i , 7 hoiseul , y g p q , ii , p 77 H omer na ch A ntiken Ga lerie heroi Tischbein , , iii , 3 Overbeck , 6 HE IO Y scher B ildwerke . 1 , pl , The inscription is false ,

Furtw an ler o ahrbuch . and g condemns the st ne as well (7 , iv , p Blacas s o o If the stone is modern , is urs , for the technique is

exactly the same but both stones appear to be ancient .

Slightly convex . Translucent sard .

o of D o D Irregular gr und line . The death lon . olon , beard of in f or : less , has sunk at the feet Odysseus , and is begg g his life ’ his with right hand he clasps the hero s knee , and he stretches h o is left upwards as if towards the beard . Odysseus stands lo kingg o his at his his left d wn at him , sword , sheathed , held side in f or n ot wh o to D hand , it is he is Slay olon , and his right hand of At o D raised with a gesture detachment . the ther side of olon ’ f D on D o stands the youth ul iomede , his left leg planted lon s ’ 3 if thigh , his left hand at the Trojan head , as grasping it , and his his D naked sword ready in right . olon wears a sleeved under o garment with a Short chit n over it , a wolfskin cap , and a skin his o o : tied round sh ulders . Odysseus wears pil s and chlamys D o f i mede has a cloak astened at the neck , and his scabbard is f his o suspended rom a baldrick slung round sh ulder . The hair of Diomede i s Short and unkempt : the hair of Odysseus escapes

“ 94 I N T A G L I O S

G PI 2 2 . . . P. 3 7 .

- . re . Paste , amethystine Perhaps an ancient paste polished

G o . A round line , partly br ken away maenad , seen in three quarter view from behind , rushing with head thrown back , in o her right hand a thyrsus with a streamer r und it , in her left H er o a kantharos , and something else which is indistinct . chit n is fastened on the right shoulder and leaves her left shoulder - so free the left hand portion of the chiton is blown aside , that l o her back , eft leg , and right thigh are exp sed , and between her s o A legs , that the lower part of the right leg is covered . long wrap passes over her left arm , in front of the body , and over her ar m right . The same figure is found in bacchic reliefs on sarcophagi R Re e t ir d s re ie s l . 6 r o e e . 2 2 ( einach , p f , iii , p 3 59 , iii , p 3 , 5 ii , 6 1 o f . o p , The motive the drapery bl wn between the legs of - A recurs in another type maenad , that used by the new ttic S al ion on N H Neu sculptor p his marble krater in aples ( auser , a ttische R elie s 2 f , pl . , number A on 6 F . somewhat Similar figure a paste in Berlin ( . , pl 3 , M and on another in the British useum .

8 R o 66 . 1 0 . . 6 . . . 2 . 2 6 . B B , 7 3 . Bu 9 Pl From Chalced n

o roehn er z z . acc rding to F . Formerly in the Tys kiewic collection ollection T sz kie i z T sz kiewicz S a le w c . 2 Froehner , C y , pl 4 , 9 ; y lo ue a ta . 2 2 8 C g , pl 7 , number 7 .

. V Sard ery deeply cut .

H filleted ead of Io , almost frontal . The hair , parted in the

o . middle , turned back fr m the face and falling loose behind Necklace rendered by two rows of pellets joined by strokes and o o terminated below by lines tapering downwards . The n se s me

what aquiline . The lips parted p athetic expression . ide F S n Dioskour s . . imilar head o a sard Signed by ( , pl 49 , 1 1 o 9 , and pl . 5 , 7) is identifiable as Io fr m the little horns in Furt an o o the hair . w gler condemns the present st ne as a c py 11 of the other ( , first , because the workmanship is coarse l and bad , secon y, because the horns are absent the engraver G R E C O - R O M A N

u did not nderstand them in his original , and therefore omitted his them in copy . u With regard to the first arg ment , most critics will consider oo the engraving g d , not bad the head has not the restrained ’ of Dioskourides o perfection work , but the executi n is masterly o to : o and the expressi n just . With regard the second the h rns - r are clearly indicated , by bosses half way between the pa ting and e of the sid s the head . Ancient pastes of somewhat similar types in Berlin (Furt B eschreibun 2 8 wangler , g , pl . 3 5 , numbers 49 another in ’ Mr . Warren s possession .

1 14

R 1 Pl 1 0 1 6 1 . . 1 . . B . B . 5 , 9 . . 5 Bu O 5 , and , enlarged , P1 0 . 1 . C B essb orou h M Formerly in the hesterfield , g , and arl o - M The Mar lborou h Gems borough c llections (Story askelyne , g , ’ ’ 6 N Tr a i te de la methode anti ue de p . 4 , number atter , q ierr s 1 N a ta lo ue des ierr s ra ver en e nes . 6 e g p fi pl atter , C g p ’ ’ ravees tant en relie u en creux de M lord omte de B essborou h g f q , y C g 1 6 Worlid e A select l ecti . 0 o l on o pl , number 4 ; g ( C f Drawings from curious antique Gems most of them in the possessi on of the Nobility and Gentry of this Kingdom etched after the manner o R embr andt B T orlid e P . . W tr f y g , . London , 1 Commentaria de anti i b number Bracci , qu s sca lp tori us G mm m D pl . 45 e arum a ntmuaru electus ex pr aes tantioribus de scriptus quae in da ctyliothecis ducis Marlburiensis conservantur ’ = R Pierres ra . vees 1 1 F 0 . ii , pl 34 einach , g , pl . 5 . , pl . 5 , 4 F an rbuch urtw ler a h . See also g , 7 , iv , p 57 .

Strongly convex . Syriam garnet .

of do Sirius . The head and shoulders a g , frontal , with rays o o o r und the head . The mouth pen ; showing the t ngue , the e o te th complete , and the corrugated palate . C arse hair in striated o o f or o . o tufts . Shaggy p inted ears The b dy sm th , save light on Ro tufts the breast . und the body , a collar , inscribed with ’ l' AIO C G FIO IG I - o : th e the artist s signature , , with small end d ts - o f as n ot o Fu rtwan ler cross bar the alpha w n ticed by g . The deep is red stone has a livid bluish hue where it hollowed thin , which ’ k e o makes the dog s muzzle loo pal and m ist . w I N T A G L I O S

A on o to somewhat Similar design a chalced ny , said be ancient , Imh oof—B K Tier und P anz enbilder in Berlin ( lumer and eller , fl , 1 Furt an ler B schreibun N . w e . 2 pl 4 , 3 g , g , pl 5 , atter

copied our stone , which he greatly admired , and his copy is o s ee - M The M arl believed to be in Petr grad ( Story askelyne , borou h Gems A o Lo zo M of o - g , p . c py by ren asini , r ck crystal , 2 ahrbuch A is in Berlin (9 43 7 , iii , pl . 3 , modern sard in M D a ta lo ue o the E n raved Gems in the British useum ( alton , C g f g the B ritish Museum P os - a er od 0 n ot t cl ssica l P i . , pl 3 , 774) is o a copy , but a free imitati n . The dogseems to belong to the class called by Keller pseudo M ahreshe te 2 8- 6 Die a ntike Tierwelt olossian (7 f , viii , pp . 5 9 , - C . 1 1 2 i , pp reproduced by a grave statue in the eramicus at A Co r 8 S ta tues S cul ture ec ue . thens ( llignon , p g q , ii , p 3 3 , and ’ ’ uneraires dans l ar t rec Uffi zi ahres f g , p . by statues in the (7 he te 2 6 : A Fiihrer durch die A ntiken in f , viii , p . 7 see melung , Florenz o z G D o a ta , p . and in a br n e head at eneva ( e nna , C ’ lo ue d s e bronz es ures a nti ues Ville de Geneve . g fig q , , pl 3 , number 1 08 o F . 2 0 . ) c mpare also the gem . , pl 45 , The same type is used for Cerberus in a stone in the Wyndham Cook collection W ndha m ook Ca ta lo ue 8 1 ( y C g , pl . , number 99) and in a small o z C o Mr H br n e figure of erberus belonging t . enry Oppenheimer , - M tw o the main head is pseudo olossian , while the lateral heads o - - are of l ng nosed greyhound like form . of H erechios The treatment the hair recalls the yp stone , 1 1 number 5 .

1 1 5 R . . 1 B u 0 0 8 . . B B 5 . . 45 . . 4 . Pl 5 Said to have been o M o o o f und in acedonia , in a p rus sarcophagus . B ught fr m Rhou s o oulos 1 8 Rh ous o oulos o f or p in 97 . p had kn wn it twenty o years and before it was m unted thought it genuine , and had ff b u who o made many e orts to y it . The owner , lived at Sal nica , took it to E urope where it was condemned by Ch ab ouillet (the same who condemned the flying heron by D exam enos ) and by A M fli ient . . 1 88 Furtw an ler su c S urray . In 9 , g saw no reason of for doubting the genuineness engraving or inscription , but was ’ was inclined to think that the inscription not the artist s signature , ’

ahrbuch . but the owner s name added subsequently (7 , iv , p

m I N T A G L I O S

1 1 6

PI 6 A . 1 8 . G 1 1 . . . . . P . 34 , Bu L 4 Said to be from thens

o 1 1 1 . Formerly in the Evans collecti n . Bought in 9

- Translucent sard . The lower right hand part missing .

A p ortrait head of an elderly Roman wearing corslet and cloak . ’ - o o o o . Cl se cropped hair rendered by very sh rt str kes . Cr w s feet o The ear small . The br w drawn down , the lips tightly pressed o o o t gether and the l wer one pr truding . Between the neck and of the curving fold the cloak behind it , a straight line , running o o to diag nally , with a sh rt transverse line at the p . Th e o on F 8 1 p rtrait head a lost sardonyx ( . , pl . 4 , ) bears a certain resemblance to ours in the field behind the head a nail o th e o on ou r point d wnwards . This suggests that bject gem A between neck and cloak is the upper part of a nail . third o e o S of p rtrait , with similar featur s , th ugh the hape the head is ff 1 1 on M . di erent , is engraved a sard in the British useum (Pl B , F of . , pl . 47 , a replica which , in chalcedony , was once in the Mo o o 1 i n de M de Monti n . 2 ollect o . ntigny c llecti n (Pl B , C g y , ’ P ierres r avees vente 1 - mai 8 2 2 1 8 . g , 3 ; 7, pl 3 , in these , as ou r o of o in st ne , only the upper part the nail is seen , the p int Stos ch o con being concealed behind the neck . The c llection tain ed a modern paste (fourth class , number which Winckel D r G mann described as a copy of a gem in the collection of . avi ’ o e D i ti on rr G escr des ie es r a vees . at Fl renc ( p p g , ii , p 43 5 the avi stone seems to have been the one which is n ow in the British M of Atilius useum . Winckelmann calls the head a portrait R Ima ines of Fulviu s egulus , addin a reference to the g Ursinus , 8 0 o . R 1 number 3 here is no egulus , however , in the 57 editi n — of Fulviu s Ursinus : the figure on page 3 8 there is no other — numbering is taken from a Mytilen ean coin with the supposed of o I s r I ma ines ex anti uis mar head Sapph . But in the llu t ium g q moribus nomisma tibus et g emmis exp ressae qua e exta nt Roma e maior a rs a ud Fulvium Ursinum f or o p p , published by Plantin The dorus G allaeu s 1 8 M Atilius R 8 . in 59 , number 3 is a head called egulus , apud Fulviu m Ursinum in nom ism ate argenteo which is pre s um ab l o y what Winckelmann meant , alth ugh it bears no resem

blance whatever to the G avi stone and lacks the identifying nail . Lo o M o The nd n and ontigny st nes are not above suspicion , o but the sard nyx and our sard are beyond doubt genuine . The G R E C O - R O M A N 99

b e e e e ar e nail is hard to explain . It may a gentil mbl m such as o Ro o : o o f und on man c ins c nceivably , but by no means pr bably , of th e Atilian that gens . f two That the our stones , or the , represent the same person R i s cannot be said with assurance . That the great egulus figured on any or all of them is most improbable : the heads do not look of o - o like that a l ng dead her . ’ It remains to account f or G allaeus S identification of the p ub lis h ed Mr H n on . o o e head . ill writes . I have d ubt that of the o L Livin eius R f or c ins of . egulus is responsible the engraving in G all B M Rom l aeu G ru e er . an R e ub ica n oins . s . b . l See , p C , iii , p 57 , 1 - 1 1 - 1 on 2 7 . Some of these ( 5 7) have an unnamed head the G allaeus or has o obverse , which Ursinus assumed to be the her on of the barrel story . But others what seems to be the same ’ is L R head labelled . egulus Pr .

1 1 7

PI 1 1 1 1 6 . . . Bought in England between 9 4 and 9 7

Sard . A p ortrait head of Julius Caesar wearing a laurel wreath tied with a fillet . Comparable with certain co ins figured by Bernoulli (R omische Ikono ra hie i g p , , Coin plate and The portrait may be posthumous , but seems to be ancient .

G Lo o 1 1 6 . 6 1 . . 6 . P . 3 3 , Pl . Bought in nd n , 9

Slightly convex . Translucent sard . The eye chipped and to of the p the head missing .

A - Ro o portrait head of a middle aged man , with the cl thing GN S o T . indicated . Inscripti n , perhaps ancient ,

1 1 9

G 6 r . P . 347 , 4 . Pl . . Said to have been found in or nea

R Ro o 1 1 2 . ome . Bought in me ab ut 9

s et . o . Sard , in a massive gold ring The ho p circular The M B 114 Fin er Rin s i . . type of ring is early mperial ( arshall , g g , roo I N T A G L I O S

. is s p xlvi , E xvi) . It not quite certain that the tone belongs to the ring .

A R C o - portrait head of an elderly oman . l se cropped hair rendered by short strokes .

G f . . . 6 . o P 3 59 , 7 Pl . Said to have belonged to a Bishop 1 1 Winchester . Bought in Edinburgh , 9 5 . M u - u Brown chalcedony . o nted in an eighteenth cent ry gold ring .

o of R P rtrait an aged oman .

1 2 1

. . 1 2 R 1 0 B 1 o Mo 2 . . u . 0 6 . B B 5 , 5 3 . O . Pl . Fr m the rri s on o o o o S aulin i R c llection f rmerly in the p ssessi n of at ome . Morrison S a 1 F le a ta 0 . . lo ue 2 2 2 . C g , pl . , number , pl 49 , 4

Black jasper .

of : o of Portrait a young man head , sh ulders , and part the o His o chest , with the cl thing indicated . hair is c mbed down o ver his forehead , and he is allowing his beard to grow . In n - n Al Ti Nl Z E T‘ITIKIA scription , , and below it J, The letters end o o o d tted . The last letter is d ubtful wing to the break in the k i e . s stone The vertical stro e certain , but there s ems to be o o f th e d ot if a diag nal str ke starting rom upper , as the letter Th e r e e of ook e were mu or nu . thi d l tt r the first line l s mor o o r like a lambda than an alpha , but it must be either a f rm o f o r ok e of a miswriting alpha . The upper and l we str s the sigma e k - are parall l and the alphas seem to lac the cross bar . o ffi urtw an ler The sec nd line presents di culty . F g says that of o o o f the lettering the wh le inscripti n , and the arrangement it tw o o of r in straight lines , c nnect it with the signatures a tists , and o ou r o S e tikiai he supp ses that inscripti n , in which he read p , gives of o the name the artist and not that of the wner . But there seems n o to be instance of an artist signing with two names , and there ’ is no reason why the owner s name should not som etimes have b : Furtw an ler een written in the lettering here used indeed , g assumes this in the case o f number 1 05 in the present collection on o and the stone in the Evans collecti n signed by Felix , the

1 02 I N T A G L I O S

V e round her shoulders , a swirling wrap back iew , the head turn d

to the left . 0 B M u on e The same design on two sards in the ritish use m , o 1 0 slightly , the other str ngly convex (numbers 73 and on B Fu rt an ler B eschreibun c o w . 2 2 a nvex plasma in erlin ( g , g , pl ,

on o o . . a sard nyx in the same c llection (ibid , pl 49 , ms a nd Ri s 1 on o o K A nti ue Ge n . and two ther st nes ( ing , q g , ii , pl 7 , ' 1 i rr ra vees a nti ues 8 : 6 G Recueil de e es . ; ravelle , p g q , ii , pl 9 ’ R In Pierres ra vees . einach , g , pl the second and in the last

to to . the head is turned the left , in the others the right A kindred figure in the wall paintings of the Villa Item at Revue ourna l o Roman S tudies . 1 o Pompeii (7 f , iii , pl 3 P ttier , ’ A r h o o i e 1 1 1 B c e l u . g q , 9 5 , ii , p 9) and on the erlin relief with which M R S 1 M o k . iss udie C o e compares the painting (7 . . . iii , pl 4 , C on Ro p . omparable also , figures a sarcophagus in me R R r d 6 e er toi e es relie s . 2 ( einach , p f , iii , p 3 , and in another B i dende K nst 1 0 1 eitschr t ur l u . Pompeian painting (Z if f , 9 , p

o to A . D . The ring no d ubt belongs the third century , and that the stone is of the same period may be inferred from the analogous o of workmanship of the st nes in the other rings the same type ,

and perhaps from th e excellent harmony of stone and setting .

1 2 5 PI f . o C D 7 . Formerly in the possession harles awson at L ewes . o o z Plasma , slightly c nvex , in a br n e ring of the same type as 1 number 24 .

G o D . o D o r und line iomede with the Palladi n . i mede , naked , e o holding the imag in his left and his sw rd in his right , steps o th e S of o o ver an altar , ide which is r unded in fr nt of him , e on a pillar with a statu it . A o e small , r ugh , late version of a design which was extrem ly popular with gem - engravers in th e G reco - Roman period (s ee Fu rtw an ler a hrbuch - . 2 1 1 . . 2 0 g , 7 , iii , pp 3 4 F ii , pp 5 and and which also occurs on a sarcophagus and in a painting (s ee Ro Die a ntik n S a rko ha 1 0 A e enrelie s . a bert , p g f , ii , pp 5 fr g o D o of h as mentary st ne , with a i mede the usual type , recently f or M o o Milnchener a hrbuch been acquired the unich c llecti n ( 7 , v , pl . B , A D Third century . . RENAISSANCE

G . L PI 1 . 1 6 . 1 . . . 20 . P 34 , Bu B , 4 Formerly in the A M - M The Marlborou h Gems rundel , arlborough (Story askelyne , g ,

. 6 F o . 66 1 . 2 . p , number and Evans collecti ns , pl ,

o o o o . Chalced ny , alm st c l urless

N his Triton and ereid . The Triton , who wears , on head and back , the skin of an animal , perhaps an antelope , with long horns ’ N who and big ears , clasps the waist of the ereid , holds a ship s ’ standard (a m /Vs ) in her left hand and grasps the Triton s throat with her right his tail is wound round her legs o n e of her feet b o - o o . A shows the s le little naked y, with wind bl wn hair , Sits ’ on o o o the Trit n s tail and h lds it with b th arms . to on e o on The type seems be an antique it ccurs , reversed , ’ o L zo M a sard , formerly in the c llection of oren de edici , which is published by Im h oof - Blumer and Keller Tier und Pflanz en bild r 0 R 1 e e 6 . . 2 , pl , 5 also aspe , pl 3 , numb r and which on seems to be ancient , although the authors express a doubt ’ a gem of which there is an imprint in the Impronte dell Insti o on o B tut further , a fragmentary came in erlin , which Furt a o B eschreibun 66 b 1 w ngler c unts antique ( g , pl . , num er and on o Da ct liotheca of G orlaeu s an intagli figured in the y (ii , Fu rtw angler accepts ou r stone as antique : against its anti ’ uit o q y, the bscurity of the Triton s torso , his curious costume , of N the treatment of the water , the athletic form the ereid , and R the aphaelesque putto . A 1 6 o rundel died in 64 . The st ne is probably sixteenth o century w rk . o - M lo floriat St ry askelyne says ( c . cit . ) that the somewhat ed R tail , as well as the material , betrays a enaissance hand A o Stos ch o o paste after this st ne in the c llection (sec nd class , number C A M E O S

1 27

1 8 z z 0 . . . o R 8 1 . . 2 . . 3 Bu Pl From the Tys kiewic collecti n z o of N Tyszkiewic said that an Oriental br ught it to Sambon aples . i z F 1 ion sz kiew c . . 6 ollect T . . C y , pl 3 3 , 5 , pl , 47 Fragment of a sardonyx cameo the background is lost the upper layer is watered grey .

’ H of e ead of a Ptolemaic queen , wearing the cap vultur s : o of o on feathers and the diadem f rmal curls , c rkscrew type , o of the brow . The pupil and the uter line the iris incised . The z nose somewhat irregular . Egyptiani ing style . A o of E cameo with the p rtrait an gyptian queen , wearing feather o o M o o o cap and h rned disk , was f rmerly in the arlb rough c llecti n D s D cis M ar buriensis 1 = R Gemma rum electu u l . ( , ii , pl 7 einach , ’ 1 - M k P ierres ra vees . 1 r g , pl 4) and was assigned by Sto y as elyne b rou h Gems 66 H M ar l o . ( g , number 3 ) to the ellenistic period H ellenistic .

R 1 66 M . . 1 0 . . . . 8 . 1 6 . . 8 B B 5 , 4 3 Bu Pl Bought in 99 H e of New ho D r . . w from W ay s Ward York , acquired it in or o M near Bagdad while a missi nary in those parts . entioned by M H a ndbook o Greek A rc a eo o 1 h l . A . . 2 S urray , f gy , p 7 , and by ’ B ab elon a ta lo ue des ca mees a nti ues F , C g q , p . xl . . , iii , p . 447 ,

2 0 . fig . 3 , enlarged u u Sardonyx cameo , white on brown , mo nted in a T rkish gold ring . E A o o . G round line . phr dite and r s The goddess stands with ee f o o left kn bent and left ot nearly fr ntal , the head inclined o h er ef o arm o t wards l t sh ulder , the right falling al ng her side , o o o the left bent up fr m the elb w . She wears a transparent chit n which has slipp ed down s o as to bare her right shoulder and of breast , and a himation the upper line which repeats the upper of of line the chiton . The back the head is veiled . Eros , a little

o . of child , flutters at her left sh ulder Below , the stump a tree . ’ The artist s signature , in two straight lines , engraved downwards ,

106 C A M E O S

The type used by Protarch os seems to have been developed in the course of the fourth century one of the fourth - century versi ons may conceivably have been a painting of Aphrodite o on Protarch os resting her elb w a tree . himself lived later the of Furtw an ler o to lettering his signature points , as g n tices , the B C second century . . Another gem with the Signature Protarch os is preserved in o Florence , a came with Eros , mounted on a lion , playing the lyre ahrbuch F on 6 0 . . . 2 2 (7 , iii , pl , , pl 57 , The signature the o Protarchos Fl rentine is in relief, not engraved as in ours , and the spelling is 6 7roet yet the two signatures seem to be by one is o hand , for the lettering similar in b th in particular , the first diagonal of the chi is the dominant one in the Florentine cameo

as o o z of . in urs , and the h ri ontal bar the tau is no less vigorous

R 1 B . . u . 1 . 8 R 5 4 O 9 Pl . . Bought from W . T . eady in

1 8 . o M o o 97 F rmerly in the ontigny c llecti n . This is probably the gem figured by Raspe (Descriptive Ca ta logue of a g enera l Collection o Gems cast b a me Ta r 1 s ssie Modelle . 2 f y 7 , pl , ’ ‘ ollection de M de M n i n vente d l hotel . o t number C g y , Drouot 2 - 2 ma i 1 8 8 0 6 . 3 5 7, pl . 5 , number 5 C ameo in three layers , the upper transparent , the middle one

milky white and in part discoloured , the ground translucent with o o a milky patch at the b tt m of the stone .

G o L r und line . eda , her left leg bare , her right knee resting of o on an altar , submits herself to the embraces the swan , wh se

neck encircles hers . M o A . . The st ne was condemned by S urray , and considered z z Fur an ler genuine by Tys kiewic and tw g .

1 3 0

G 1 li i o . . 8 n o a ta o . S au l ue P 3 7 , 7 Pl . . From the c llecti n (C g des ob ets i u s r Louis S aulini Rome a nt e ecu illis ar M hev . e . le C j q p , , 2 - 2 6 a vril 1 8 4 99 , number

of on o . Fragment a sardonyx cameo , white pale br wn

G A o round line . y ung satyr , seated on a , which is . rock b o lionskin . covered with a , draws a y towards him The satyr C A M E O S m7 has his z not H a skin over loins . The decen a did deter auser o as fr m regarding the stone antique . A similar scene on a fragmentary cameo with the signature ’ of Dioskou rides F D ioskourides o o ( . , pl . 57 , came pr bably represents a hermaphrodite tempting a young satyr : f or the as of e design , as far as it is preserved , is the same that a Calen o clay relief, a paste came in Brunswick , and several marble statues ’ H R h L ikon v H o os c er s ex s . . (Paul errmann in , ermaphr ditus , of pp . 2 3 39 the original group probably formed a kind pendant to the group of a bearded satyr tempting a h erm aph ro ‘ is A La Gl tothe ue N - arlsber dite which described by rndt in yp q y C g , 1 text to pl . 39 . ou r is In stone , the seated figure certainly a satyr , though described as a f aun es s in the Sau lin i catalogue the other is probably a young boy , though the breast is a trifle full . 2 0 Phi aleian z For the action , slab 5 of the g frie e may also be compared .

Early imperial .

1 3 1 A M 8 . G . 2 1 . . . P 3 7 , Pl Formerly in the rundel , arlborough , S h rtider - M The Marlborou h and c collections (Story askelyne , g

' 06 S chroder S a le Ca ta lo ue 1 1 0 Gems . 2 , p 3 5 , number ; g , 9 , number

Fragment of a sardonyx cameo , white on brown .

The subject obscure a young satyr push es o r supports th e shoulder of a bearded Silenus wh o wears a short garment about his r o loins . This Silenus seems to be pulling something o s me b ody : another figure is needed to explain the thyrsus which passes behind both figures .

Early imperial .

1 3 2 8 0 1 . . . d n G . 2 R Feuar e t P . 3 , Pl Bought from ollin and in 1 0 o o B ab elon H istoire de la 9 7 . The previ us hist ry is given by ( ra vure sur emmes en F ra nce 1 6 A o to g g , pp . 5 cc rding a tradi o e om o o ti n which Bab l calls ap cryphal , it was f und by a peasant o R o s u m fr m the man Campagna , and purchased for a small by A Th e C Ch erof Cardinal lbani . Cardinal presented it to ountess 108 C A M E O S

fini w as u , in whose possession it when Winckelmann p blished o oo e it . The st ne s n becam famous under the title of the Tears of Achilles The f amily of the countess sold it to Monsignor K of N o M u n suc Ferretti , and the ing aples , J achim urat , made A o 1 8 0 ces sf ul attempts to acquire it . b ut 2 it was in the possession f V z Natti wh o o a collector named incen o , sold it to a Frenchman , f M S . o . . de , in wh se amily it remained till lately ’ I o o There is a cast in the mpr nte dell Institut . two Fragmentary sardonyx cameo in layers , the upper milky

o O . white , the lower dark br wn and almost paque

Uneven exergual space representing the ground . Orestes and o Pylades in Tauri . Orestes seated , resting his b wed head on his o on f right hand , his left arm dr pped his le t thigh with the half T o of closed hand hanging listlessly by his knee . the left his o o zo legs , part of a st ne structure in c urses , with faint hori ntal n ot to o striations p ossibly an altar . Orestes seems be sitting n on o e o e o this , but s mething lse , perhaps a st n , nly a small part of of which is visible between this seat and his thigh , a piece e ou f s t . o o oo drapery can be mad In fr nt Oreste , Pylades l king on down at him , his right hand resting a high pillar , his head o A on . the hand , his left arm l wered with the hand open garment f alls in front of his right leg and is held between ham and knee o of higher , it is seen in fr nt his chest and under his armpit . B of oo o : ehind , part a d rway , with a fillet hanging fr m the lintel o the architectural fragments ab ve the lintel are hard to interpret . B o oo ehind Orestes , and in fr nt of the d rway , a guard , clean Ro e o th e shaven , with man h lmet and shield als hand and bent f if sleeved arm of a ourth figure , the elbow as resting on a ledge o e b of r c nceal d y the head O estes . o o f e An The came has ten been copi d . imprint in th e Stos ch collection is thus described by Winckelmann (Descr iption des ’ — l ierres ravees . e p g , pl 3 73 4) sard engraved by Sieur Barnabé e A o o of N o . s n announc Florentin [Felice Bernab ] ntil chus , est r , of o A ing the death Patr clus to chilles . This engraving is made after a fragment of a cameo belonging to the Countess Ch eroffin i in Rome the missing part of the cameo has been supplied on ’ o A e o o wh o our st ne , including the two maidens , chill s c mpani ns , , ’ ’ to H o o o of according mer s acc unt , m urned the death Patroclus . A B th e sard intaglio in erlin , of same type , is attributed by

1 m C A M E O S and trousered garment which he wears with his Roman corslet . is th e e The third example fragment , described and figur d by menti a ntichi i nedi ti Monu . Winckelmann ( , fig which is embedded in th e wall o f the Palazzo Mattei at RO In general b B ’ it resem les the erlin version , but it shares with the Weimar sarcophagus the Scythian costume of the soldier and the youth fulness of th e figure in the b ackground to th e right is part of

o o . an additi nal figure , an ther youth wearing a Phrygian cap The Berlin sarcophagus was discovered in 1 82 8 the Weimar came from the Palazzo Grimani at Venice and is first mentioned in M e t to to 1 789 . The att i relief is conj ec ured have been attached zz the Pala o Mattei when it was built in 1 6 1 6 . Robert supp oses that the subject of these reliefs is taken from ’ lines 657—72 4 O f E uripides Iphig eneia in Ta uris : Pylades h as o to o o I hi en eia c nsented take h me the letter fr m p g , while {Orestes f o is to remain and be sacrificed . Other less satis act ry interpreta ’

HOf er R res tes . h er Lexik n s . v O os c s o . tions are mentioned by in , The original reproduced by the reliefs is naturally much Older of e e o than they . The figure Or st s ccurs in reliefs on Etruscan O f B C I rilievi cinerary urns the third or second century . . (Brunn , d e etr sche 8 8 1 0 elle urn u . 6 , pl 4 and pl . 5 , 3 , and pp . The ff of urns represent a di erent moment in the story , and the place I hi en eia h er on Pylades is taken by p g , resting head and hands o o o a pillar . The scene may be a m dificati n of the riginal from Ro f of which the man relie s are derived . The motive the drapery k e caught between the nees , as in Pylades , does not occur befor th e of b ut e very end the fifth century , is frequ nt in the fourth f or th e tw o of es r o th e figures Pylad and O estes , c mpare first and f o on A e - V e o Va ses urth figures an ttic b ll krater in i nna (Lab rde , de La mber b o to f o . g , i , pl . which el ngs the early urth century B lon 1 ab e o . o our o to ( p cit . , p . 57) c nsiders came be a renais o of M f eo ff o sance c py the attei relie . The cam di ers fr m the e e o of r li f in many p ints , the head Orestes unveiled , the left hand o f e ff on Pylad s empty , his right hand placed di erently a higher o pillar , the supernumeraries changed . These variati ns cannot be used as an argument either f or or against a modern origin but at least on e detail suggests that the cameo is n ot an imitation of M e f O e b the attei r lie . The hand of Orestes lies half p n eside his on e ef b ut on knee the r li , it is wrapped in his drapery the o n o o Weimar sarc phagus it is placed as o the came . The came is o f th e r n ot f o th e c pied , it may be urged , rom Weima and r m C A M E O S 1 1 1

M is attei version that impossible , for the Weimar Pylades diff ers o M from b th the attei and the cameo . The Berlin sarcophagus is out o n ot of the questi n , as it was discovered till the nineteenth

century . It is unlikely that a modern artist would have con tamin ated M the attei and the Weimar versions . Either the cameo is ancient or it is copied from a fourth sarcophagus which has

disappeared .

There is nothing , however , in the style of the cameo which would prevent it from being antique and it is well known that the engravers of gems and the sculptors of sarcophagi often drew o o their compositions fr m the same s urce . It may be added that Furtw angler s aw the cameo and thought

it antique .

I 3 3

G 1 1 . 8 . P . 344 , . Pl . From the Boulton collection (sale

catalogue , number

Fragmentary sardonyx cameo , white on brown .

A o O A c ncert in the pen air . faun , wreathed with ivy , lion skin his seated on a under a tree with a nymph on lap , and smiling at a bearded satyr of rough appearance who is dancing oklasm a H to the . erbage rocky ground the left . 0 The scene may be completed with the help of a cameo in the o F Beverley c llection ( . , pl . 57 , where the nymph is perhaps to wh o is o clapping her hands accompany the dancer , , h wever , o o h i s mitted and replaced by an urn , while an aegipan h lds syrinx o A of o i n ready , and the faun c nducts . fragment another came ’ o o the same c llecti n , of which there is a cast in the Impronte dell I o o of nstitut , c ntains the dancer and the head the faun , and part of l A the tree with an osci lu m dangling from it . fourth cameo of the same type belonged to the Mantua and Wo rsley collections Museum Worsleianum V Museo Worsle ano ( , ii , p . 3 7 ; isconti , j , i b o wh o . 0 1 6 s pl 3 , ) here the aegipan replaced by a little y,

e to o . plays the flutes , and the nymph app ars be holding a b wl The cut published by Aeneas Vicus (E x g emmis et ca mets a nti uorum a i o me a 8 of l uot m nu nt . q q , pl ) represents a cameo this o of o type possibly the f rmer the Beverley st nes , with the urn transformed into an aegipan standing o n a rock in the distance o V h as su and playing the d uble flute . icus added the motto g ’ gested by the cup in the nymph s hand Lib idin is fomes . I Si 1 1 2 C A M E O S vina tollas et Venus statim perit nec dulce quidquam r estat hin c ’ rtalib u s m o . The figure of the nymph occurs in other compositions : so F o o B . . on an ther came in the everley collection ( , pl 5 7 , For of o the gesture the faun , a fragmentary came in the British Museum (number 993 ) may be compared an o ld Silenus x seated playing the lyre , and a hand with the inde and middle

fingers extended , the first vertically and the second diagonally , and the rest closed .

S U P P L E M E N T

INTAG LIOS

1 . 8 1 G . . . . . P 34 , 3 Fig 5 at p 5 , magnified 4 diameters

Formerly in the Evans collection . Published in a Paris sale

catalogue .

- C o o . halced ny , slightly c nvex The lower left hand part lost . A G . round line , swelling towards the middle woman with a vessel

o . o at a f untain Thin chit n , undergirt the mantle has slipped

o . Co e back fr m the shoulders il d hair . h e on G o - R B M T same design several rec oman gems ( . . F - ue 6 . . 6 F B ta lo . 2 2 . eschreibun Ca . g , pl F , 5 , pl 3 9 , 7 , g , pl 7 , n o o New o k ob . 345) and on a c nvex sard in Y r which is pr ably

H . e ellenistic like ours The vessel has be n called a hydria , but as n o side - handles are indicated in any of the versions it is probably o an oinoch e . The upper part of the chiton is treated in the moist Ionian F 6 manner similarly on the stone . , pl . 3 9 , in the other versions o the treatment is m re severe . o or of The riginal may have been a picture , a marble relief,

the fifth century . The severer versions recall the Persephone on tolem os the Tri relief from Eleusis . l enistic He .

1 14 S U P P L E M E N T

u ff u gro nd . Beger notices that the engraver di ers from Pa sanias , ’ ’ eu doi a t y ay . m fi ( c m m but agrees with Strabo , p 379 , who says of Pirene , p ' ' - 7 s r a o ov oih oiva t tin b B eM e oc bvr ov II jy p b .

A nnali 1 8 . of In , 74 , p 9 , Engelmann mentions a fragment a relief in the Villa Carpegna which has the same design as ’ r s B ege gem . F B hrei A . esc variant on an ancient paste cameo in Berlin ( , bun 1 1 1 2 2 o g , p . 3 5 , number 7 ) here Belleroph n faces to the right and his right arm is bent at the elb ow and Pegasos is almost H in profile . Compare also erakles and the Bull on a sard in the

M F . British useum ( . , pl 3 5 , ’ Dioskourides A o e s e . On , ugustus fav urite engraver , F iii , ’ — Furtw éi n ler s ahrbuch pp . 3 55 7 , and g earlier essay in 7 , iii , - h e of D F l . 2 1 1 2 . . . pp 5 T portrait emosthenes in amethyst ( , p 49 , A 7) is now in the collection of Sir rthur Evans . A D D E N D A

1 Mr . A . . G o . 1 w P 7 , number , at the end . S F . points out that the monster need not be a deity but may be in the nature of or a cherub the like .

1 1 8 A P . 3 , number . naked youth running with cock and of lyre is the subject a green jasper scarab , more archaic in style 1 1 - 1 bis than numbers 3 , which is at present in the market .

P . 2 3 . Studded headpiece also in an architectural clay G o o V . gr up in the illa iulia , fr m an archaic temple at Falerii

A A - P . 2 3 . The nearest ttic peytrel ttic calyx krater of free o Alin ari 0 1 . 6 style in Corneto (ph t 2 4 ,

For ter . P . 3 3 , number 3 5 the style , compare the sard scarab number 1 5 2 60 in the Museo Archeologico at Florence (young

warrior holding helmet) . H . 2 . P 3 9 , number 4 There are two sard scarabs with erakles o on the raft in the Castellani collecti n at Rome .

1 Mr G o o 6 . . w u P . 5 5 , number bjects that These s would be two cut in if the rope were as described . ’ i i V Intre dus . For the mot ve , he compares Pisanello s enator p

8 . A scara P . 5 nother lion with bristly back on a chalcedony o M b id from Larnaca in the British useum .

M Mr A 8 . . . G ow P . 5 aned lionesses . S . F . writes The artist of the button [our number 3]knows more about lionesses than the artist of the sliced barrel [our number 6 f or he provides o n ot them with abd minal and inguinal mammae , yet his lioness too is maned . I inquire therefore whether the mane may not have Ar as o . For been regarded comm n to the sexes instance istotle , H A 1 8 to . . ii . (49 , b . seems class the lion as a maned animal e without reference to s x . I add also that it is conceivable that G lionesses were maned in reece . Lions tend to lose their manes in exceptionally hot districts , and Selous believes them to have Q 2 H 6 A D D E N D A been a northern animal which moved southward ; s o that when they extended farther north they were certainly hairier (as at the ma Zoological G ardens in London) and y all have had manes . o A rica n Na ture Notes 8 0 ff See F . C . Sel us , f , pp . . o are o The upsh t is , it seems , that if there unmaned li nesses of If e in G reek art all this is perhaps no importance . ther are o of I not . n , a suspensi n judgment would perhaps be wiser any o to too case the barrel artist ught not be rated much , for arentl A o o k f or a p y rist tle makes w rse mista es ( instance , gives em to on e D e t two mammae) , and seems never have seen ( ib s anima lium ar t u . . p , tr Ogle , p though they existed in o A ff Thrace in the f urth century at least . di erent line of argument ’ o zoolo in a letter herewith fr m a ist . z o o Mr M D H n o The o l gist ( . . . ill writes I can find allusion o s of oo oo to maned li nesse in any the b ks I have l ked at . The only suggestion I can make is that in the hotter parts of Africa

‘ Of o o lions ten devel p nly the scrubbiest of manes , and thus the idea may have arisen that they were really lionesses and n ot lions o n ot o at all . The confusi n is at all imp ssible as the genitalia are ’ o inc nspicuous in both sexes as often as n ot .

6 0 Mr G o o 8 . w P . 7 , number . c nsiders the hind quarters o f or to wr ng a spring and supposes the animal be stretching itself . ‘ If the animal were canine we might compare the dog in e ff o of 6 a humbl and a ecti nate frame mind shown in fig . of ’ D E x re si n o th E motio s arwin s p s o f e n .

‘ 0 I . t e Mr G : . ow P 7 , bottom is conceivabl . writes A The material helps , I think . magistrate wanting a seal which he could only use during his term of offi ce might well have it of ’ o z b br n e and not of more costly and dura le material .

8 . z o o P . 7 The stone published by Viven i is als figured by ’ G argiulo in his R ecueil des monuments da M usee Na tiona l ci de ‘ lusieurs a utres llections a r ticulieres N 1 1 1 co 86 . . p p , aples , , iii , pl 7 ,

. . e Lo P 95 The Chesterfi ld collection . rd Chesterfield delivered the f ollowing admonition to his s on in Rome (Letter No n or ou n o o cx) piping fiddling , I beseech y days l st in p oring up on almost imperceptib le I ntaglios and Ca meos and do n ot o V o of of bec me a irtu so small wares . Form a taste painting , sculpture , and architecture , if you please , by a careful examination of the works of the best ancient and modern artists those are

I N D E X

ere e is to th e a e The ref nc p g .

era o s of 6 — 1 os o e s 2 1 0 60 6 Abd , c in , 9 7 . B t n , g m in , , 7 , 3 , 57 , 59 , , 5 , ’ les 2 6 T ar lles 68 e s of . Achil , 5 , 3 Achi , . 73 . 93

108 . o l o o le io e s or erl i the B u t n c l ct n , g m f m y n ,

or 1 . 8 Act , 9 5 . 7 e a em ro 20 e e al fi re Bowdoiii o le e r s a e A gin , g f m , p dim nt gu , C l g , B un wick , M in , 8 e s 66 3 . g m in , 49 , 59 , . r a m r r o e o a r e 88 . s s e see o . Af ic , g f m H d um tum in , B iti h Mu um , L nd n Ai nos o s of ro e ea 8 rel e s 2 2 0 6 . 2 , c in , 4 B nz h d , 9 i f , 4 , 5 , 7 , 9 ax ea — r s 8 6 see ea of 8 . s a a o s 1 s atue e Aj , d d , 34 d th , 37 c b id , 7 t tt , 3 , 9 Aka th s o n o s of 8 . s ae rrors r s . , c in , 5 ci t , mi , ing

Am athus o s o r s m 10 . f 2 8 . e , c in , 9 , 5 B un wick , g in , 7 a o s 1 ra Am z n , 45 , 5 . Buc nium , 53 .

ro e 8 1 0 l 1 0 6 see al cow ze . Aph dit , 5 , 4 . Bu l , , 4 , 3 , 7 c f, , bu o o 10 1 1 Ap ll , , 4 , 44 , 9 .

r er 20 . a ar e s 1 . A ch , C gli i , g m in , 9 , 7

r os o s of Ga a e . A g , c in , 53 . l nic , 74 r s o le 1 1 a - A 1 1 6 . 2 6 6 . i t t , 5 , C lf, , 5

r 6 8 . o le o e s the 2 6 . a r e e s A ndt c l cti n , g m in , , 5 C mb idg , g m in , 4 , 4 rs oe Phila l r s r r 1 8 . de hos 80 8 1 . a u e 0 A in p , , C l h , ing in , r e s 1 6 . ar o e . A t mi , 5 C t uch ,

s r . assa ra . A hu , 4 C nd , 5 5 , 77 , 79

s a e s ro 2 8 ar a 2 and 8 as e a o e o e s the 1 1 . A i , g m f m , (C i ) , 5 9 C t ll ni c ll cti n , g m in , 5 s a r S o 80 a a 8 1 e e a r . (A i Min ) , (Ad n ) , ( ul i C nt u , 75 , 93 a c E r s a r r s 82 a e ee e e 6 . m ni h) , ( uph t ) , 94 (Ch l C b u , 9

don 1 0 a a ar o 1 6 1 88 . ) , 4 (B gd d) . Ch i t , 5 , , 5 , e a 1 fi a e a ou e s 2 a e of see a la o . es er el or Ath n , 9 , 3 im g , P l di n Ch t d , L d , dvic b t g m ,

e s e s 2 . 1 1 6 . Ath n , g m in ,

a e s ro 8 s a ro z 8 6 . 6 6 8 . e e Attic , g m f m , 45 , 9 , , 9 Ci t , b n , , 3 5 , 3 - s s 88 . a re e s 2 2 e a 2 o r a Augu tu , 9 Cl y li f , (M li n) , 3 (L c i n) , e e s 8 and 10 re o 5 5 (H ll ni tic) , 7 5 (G c e l ro a 8 e le e o e o 1 1 . o a s tue e B l ph n , 3 R m n) t tt , 5 t mp d c

e e e m th ossess o ra o 1 1 . o . e e B n d tti , C mm , g in p i n ti n , 5 f o o 1 . , 59 . C ck , 9 , 3

ere I 80 o ere l olle o em the . B nike , . C ck l c cti n , g in , 49

er e s 2 1 1 1 2 1 6 1 2 0 o s see under the several sta tes . B lin , g m in , , , , , 9 , 5 , 3 , C in ,

6 66 6 68 1 88 8 o s 6 . 43 , 5 7 , 59 , 5 , , 7 , , 7 , , 9 , C itu , 54 , 5

omma ene o s of 8 . C g , c in , 3 Bes o o e a s e ea two o es 1 , 7 . C nj in d in ingl h d , b di ,

8 . e er e olle o e s the 1 1 1 . o e a e e s B v l y c cti n , g m in , C p nh g n , g m in , 3 , 39

r s 6 2 1 see o e oose or em ro . Bi d , , 4 , 5 d v , g , C fu , g f m , 3 3

a ero . or e o e s 1 1 1 0 . h wk , h n C n t , g m in , , 4 , 4

Cos o s of 2 2 . oar 6 . B , 4 , c in ,

or er of a o a s ro es ree Cow 2 . B d di g n l t k , G k ,

s ara s er a 10 re e em ro 2 . c b with v tic l , . C t , g f m , 1 2 0 I N D E X

or o 1 . rus e s ro 1 2 2 2 . , yp , g f , 5 , 5 , 7 , 9 G g n 3 C m m — or o e o 1 20 . era em ro . G g n i n , 9 Cyth , g f m , 53 - r a 6 re o e s . z s o s of 0 8 . G c P i n , 5 Cy icu , c in , 3 , 5 ree e em ro see a lso under G c , g f m , 57 ;

- a rticular loca lities . ea e o s . p D th d m n , 33 , 34 , 3 5 riffin 2 6 — 1 eo e D er le o e s the 2 , , , . e Cl cq col cti n , g m in , 5 , 4 9 7 l nin 5 a ro e e 62 elle e 2 , 0 86 . G und lin h tch d , p t d , 5 3 ,

2 two ro es . eer 1 1 6 . 7 g und lin , 45 D , , 5 , 5 e r e e of reas r at 2 em D lphi , f i z t u y , 4 ; g

a 1 . ro . wk , 4 f m , 44 H l - — ea ora ar o 8 see Dexamenos em e ra er 6 62 . d , cul , 73 ; y uthful , ; , g ng v , 4 9 , H

or ra . Diom ed 2 1 02 . p t it , 53 , 9 , - - - ea ress and ea ear 6 80 o sos re e on se o s ara 1 . , , , , , Di ny in li f p ud c b , 3 H d d h d g 44 49 5 - Dioskourides em e ra er 10 1 1 . , g ng v , 94 , 7, 3 . — ea e e of r e o e 1 2 1 1 . o 1 6 ° dpi c b idl , d tt d , 4 , 3 , 5 D g s 5 : 54 : 95 H - el e a as 8 o o o 2 . t , f nt tic , y uth picking up , D l n , 9 3 H m o e 6 2 D nk y , 9 . s kl ia Hera e o s of . or s em ro , c in , . 74 D i g f m , 5 5 era les 10 1 1 2 8 0 or a em 2 8 , 9 , , 4 , , , 3 , 39 , 7 , D p t , g in , . H k 5 3

o e 1 » , D v , 7 73 r a r i 0 e o e 1 . ra o 1 m ph d t , 7 D g n , 4 H

er es 1 . H m , 4 , 43 r f r tim o o o 1 . Ea e He mo s , e em , 2 6 . wn g 3 gl , 9 , 5 —6 1 ero . E e s ro 0 68 . n , 59 gypt , g f , 2 , 54 , H m m — rs s 1 1 6 6 88 1 1 . E s o of o e , , , 2 , 2 , , , 3 . 5 4 4 9 li , c in , f47 H - - - — orse a ers 1 2 1 1 1 . E imenes em e ra er 20 . t m , 5 , 4 , 3 p , g ng v , 4 H

l o s of 2 68 . Er s H e e , , , 1 . iny , 3 y c in 9 - rechios em e ra er . Eros 1 2 8 0 0 2 10 do H e , ng v , 7 , 4 , 2 7, , 4 , 5 , 5 , 4 ; g yp g 9 o e b di d , 54 .

s f 1 . E r a ia I chnai , o o , otost s 0 . , 5 c in 4

I O ea of . E r thrai o s of 1 2 . , , y , c in , 4 , 4 h d 94

I onides o e o em the 1 1 . E r r a e s ro : Arezzo o s c ll cti n , g in , t u i , g m f m , 4 ; Chiu i ,

Is s ee as 80 . or e o 6 1 0 1 1 6 1 2 i , u n , 3 9 ; C n t , , , 4 , , 4 , 7 ; q

I a e s f ro 8 . V . vi , g , 7 , , 9 ulci , 37 z m m

I or 10 a es 1 . E oea e s ro al s 8 v y diptych , 5 pl qu , 5 ub , g m f m 77 (Ch ci ) , 5 Ere r a ( t i ) . 1 E r es 1 10 aso , . u ipid , . J n 4

l s aesar . E a s o e o e s the : 1 0 8 Ju iu C , 99 v n c ll cti n , g m in , 3 , 3 ,

8 1 00 1 1 o e the 2 . 5 , , 4 ; nc in , 4 , 54

- Kanachos 1 . E elas es 6 8 . , y h , 4 9

ia o of . Kaulon , c in , 45

ris o s of 2 2 6 2 . Flore e e s seo r eolo o Kelende , c in , , nc , g m in Mu A ch gic , K o o of 8 . 6 1 06 1 1 Uffi zi 1 1 . , , 5 j 7 , , 5 ; , 7 iti n c in F l es 8 102 . ut , 7 ,

- olle o e s the . Fores or e ar a 2 1 2 6 Lamb c cti n , g m in , 7 h t ning , ch ic , , 3 , 37, 39 ’ ’ aos o of , 2 . of l s ea 6 of orse s ea 1 . L , c in 7 bu l h d , 7 h h d , 5

66 . F e e e s , , 6 , o a o a at 1 1 2 . L cc , g m in 43 4 unt in , w m n ,

e a 106 . L d ,

- es os em ro , 8 . e o em e ra er 86 . L b , g f m 7 G l n , g ng v , 68 1 o 1 6 1 , 2 , , , , 7 , 7 ; oa 6 6 6 . Li n , , , 5 9 54 7 4 9 G t , 4 , 7 , 7 wild , 7 o ess 1 8 o w r s l a , G ol oi o s of 2 . li n , , 5 li n ith b i t y b ck , c in , g 9 ’ 8 1 1 o s ea 8 . oose 2 . , li n h d , G , 5 5 5

1 2 2 I N D E X

S ar o a Clazom enian 2 ar le S ra s e o s of 0 1 2 68 c ph gi , , 3 m b , y cu , c in , 47 , 5 , 5 , 5 , ; — m 6 1 1 1 . e . g in , Sar l t 0 S ri - r r o e o em o e he . es em e a e 1 1 1 8 ti c l cti n , g nc in , 3 y , g ng v , , . Sa r s e e e s . ty , il n — S ara o s e ra e on o s es 6 . , Tare o s of c b id ng v d b th id 5 7 2 . ntum , c in , 5 S ara s e ra e on s s o e , . Tars os o of 0 c b ng v d b th id 43 , c in , 7 .

e re . S , 2 Teos f c pt 4 o s o 8 . , c in , 5 - S a ors es 88 . e h , Terra o a s a ee . c tt , cl y - Sea a eress 86 . p nth , T e es o of . h b , c in , 44 S e ti ian s 100— c u 1 . , Th is p eo n 2 . g , 7 S e 1 e . h p , 3 T ese s 1 0 1 0 . h u , 5 5 , 9 , S em ro 6 ici y , f , . T r l g m 7 o c 82 . , S o o s f 6 8 o 8 . icy n , c in , , 7 Tree a a s s e r al s os e , nim l ymm t ic ly di p d Siev ekin Sir E ar em the osses g , dw d , in p a a g o 2 . b ut , f 1 s o o . i n , 9 Tr o 10 6 ip d , , 44 , 9 . S e S e s s a r 8 1 0 1 1 1 2 1 6 i n , i nu , ty , , , , , , , r l l 7 7 T o 88 1 0 . it n , , 3 8 106 10 1 1 1 ea of 8 a ess 9 , , 7, h d , t ill , 1 1 Vas es : Clazomen ian 2 2 2 a re , , 3 ; C c S er esse s 8 . ilv v l , 7 tan 2 2 2 E r s o- I o ia 2 0 2 2 S r 0 , 4 t u c n n , , , e . i n , 4 8 i 1 2 1 1 6 2 0 2 1 2 2 6 5 Att c , , 4 , , , , 4 , , S r s . i iu , 95 2 8 1 2 8 S a e 1 6 . 3 5 . 3 7 . 3 9 . 4 . 4 . 43 . 45 . 47 . 4 . 2 6 . n k , 3 , 9 ,

So o les . ph c , 34 oeo a I a a 12 1 0 » B ti n , 3 9 ; , , ; S outhesk o e o e s the 2 0 2 1 t li n 5 Lu c ll cti n , g m in , , , canian a a a 0 6 , 45 C mp ni n , 47 , 5 , 5 ; 0 8 ° 4 : 59 1 74 » 7 , Paestan a e e 10 ar e S i 6 , 77 C l n , 7 m bl , ow W . , 5 5 ld , 3 m n see a o re e s . S x ss g li f e 1 2 . phin , wingl , V e a em 8 . S ar i nn , g in , 9 2 6 . t , S a es ar a 2 fi t an d f o r t tu ch ic , 4 f h u th W s at a e 2 8 on ea 1 e r es 2 10 e e s ing , nkl , ; h d , 4 ; c ntu y typ , 43 , 5 , 5 H ll ni tic re r e 1 2 2 8 s re and re o- o a 88 6 1 0 cu v d , 5 , 3 , 7 , ; lightly G c R m n , , 9 , 97 , 7 .

r e . S e ro ze 81C cu v d , 7 e . b n , W a oo o e o e s the S or as e e o e o em the yndh m C k c ll cti n , g m in , t y M k lyn c ll cti n , g in , 2 1 0 » 8 , 6 6 ° 10 . 5 3 3 57 , 4 , 7 , 79 S ra o 1 1 t b , 4 . S ar s o f o 2 . Z e . yb i , c in , 7 bu , 5 7 D E SC R IPT IO N O F

T H E ILL UST R A T IV E PLA T E S

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o o a a e s ara o L nd n , g t c b id Y r s ar s ara o New o k , d c b id

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o re s ea e s ara L uv , t tit c b o o ro - r s al s ara o L nd n , ck c y t c b id D e ler olle o sar s ara o C cq c cti n , d c b id o o ro - r s al s ara o L nd n , ck c y t c b id o o ro - r s al s ara o L nd n , ck c y t c b id Southesk olle o s oloure s ara o c cti n , di c d c b id S ard s carab from Iviz a Green jas p er s carab from Iviza Green jasp er s carab from Iviza W a oo olle o s ar s ara yndh m C k c cti n , d c b os o ro - r s a s ara o B t n , ck c y t l c b id or e o a a e s ara C n t , g t c b o e a e s ar s ara C p nh g n , d c b o o sar s ara L nd n , d c b o o sar s ara L nd n , d c b W a oo olle o sar s ara yndh m C k c cti n , d c b os o s ar s ara B t n , d c b e e s ar s ara L cc , d c b For er the E a s o le o lass s ara o m ly in v n c l cti n , g c b id S outhesk olle o s ar c cti n , d

o o s ar s ara L nd n , d c b W a oo olle o a e o s ara o yndh m C k c cti n , ch lc d ny c b id S outhesk o le o o le as er s ara o c l cti n , m tt d j p c b id o o ro - r s al s ara o L nd n , ck c y t c b id Ox or ol r f d , g d ing os o sar B t n , d 1 24 I L L U S T R A T I V E P L A T E S

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1 e e al e o s ara o . L cc , ch c d ny c b id s a a a arrel 2 . ewe e e L , b nd d g t b e ro ra a e o s ara o P t g d , ch lc d ny c b id P o o a e a a e arrel - B wd in , b nd d g t b

I o o a e o s ara o U B wd in , ch lc d ny c b id G o o ro - r s al s ara o L nd n , ck c y t c b id D e er ol e o o ex s ar Cl cq c l cti n , c nv d Chalcedony s caraboid o o as e L nd n , p t 1 0 o o o ex al e o . L nd n , c nv ch c d ny 1 1 o o s ar . L nd n , d O e the o olle o al e o nc in M ntigny c cti n , ch c d ny o o s ar L nd n , d 1 al r 1 6 . e o e 2 4 Ch c d ny , numb

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